ホテルを出て夢舞台の公園地域に向かう手前には、「淡路夢舞台の歩み」と題した経緯の説明コーナー展示がある。そこにはたくさんの「構想スケッチ」が展示されています。建築設計者として安藤忠雄氏が明記されているので、こうしたスケッチ群はかれの描画であることはあきらか。設計者のスケッチは完成形の建築の構想過程を明示してくれるので「思い」が伝わってきやすい。
この夢舞台建築群とのわたしの対話時間はおおむね3時間ほどとわずかな時間だったので、現地では十分に対比的に参観することはできませんでした。しかし、このように事後に資料としての写真などで跡づけることで、思考の工程を思い描きやすい。スケッチは基本着想をわかりやすく伝えてくれますね。逆に現場でリアルに感じる建築の印象と作り手側のイメージ・想像力が明示されることで強く印象に残る。
以下いくつかの建築群の紹介文。

１　楕円フォーラム〜楕円形の２重の壁の間を交叉する階段やスロープ、外部から貫入するコロネード。内部の大階段と水盤などで構成される。動線の結節点としてそれらの間を通るうちに見え隠れする内外部のさまざまな風景が、そこで行われるであろうイベントと共に来訪者に予期せぬ刺激をもたらす。


２　空庭〜斜面に埋め込まれた立方体のなかに連続する階段状の広場を内包する。壁に落ちる光と影、立方体のフレームで切り取られた風景などが抽象的な非日常空間を作り出す。野外イベントや彫刻展などにも対応可能な広場として計画されている。


３　百段苑〜約4.5m角の花壇が百段、敷地内外のどこからもよく見える急勾配の敷地に添うように埋め込まれる。巨大な階段と水の流れは山から海へと感覚的な連続性を生み出し、単純な幾何学形態が連続する非日常的な光景に彩りを添える。

ということで建築群写真集的な展開になってきたのですが、チェックポイントは多数だったので、コンクリート打ち放し公園的な様子を明日まとめてみたいと思います。

English version⬇

Tadao Ando’s Conceptual Sketch and Architectural Group Awaji Yumebutai-5
A park-like open-air architectural complex with fair-faced concrete. Reclaimed green space and intentional concrete. A space of musical contrast. The space of musical contrasts.

Before leaving the hotel and heading toward the Yumebutai park area, there is a corner exhibit titled “History of Awaji Yumebutai” that explains the history of the project. Many “conceptual sketches” are displayed there. Since Tadao Ando is listed as the architect, it is clear that these sketches are his drawings. The designer’s sketches clearly show the conceptual process of the completed architecture, so it is easy to get a sense of his “thoughts”.
Since my time to interact with the Yume Butai buildings was limited to only about three hours, I was not able to visit the site to fully contrast the buildings. However, by tracing the process of my thinking with photographs and other materials after the event, it was easy to envision the process of my thinking. The sketches convey the basic conception in an easy-to-understand manner. On the other hand, the impression of the architecture felt realistically at the site and the image/imagination of the creator’s side are clearly indicated, which leaves a strong impression on the viewer.
Below are introductions to some of the architectural groups.

1 Oval forum to elliptical double-walled intersecting stairs and ramps, colonnades penetrating from the outside. It consists of an interior grand staircase and a water basin. The various landscapes of the interior and exterior that appear and disappear as visitors pass between them as nodes of the flow line, together with the events that will take place there, will provide unexpected stimulation to visitors.

2 Empty Garden – A series of staircase-like plazas are contained within a cube embedded in the slope. The light and shadows falling on the walls and the landscape cut out by the frame of the cube create an abstract, extraordinary space. The plaza is designed to accommodate outdoor events and sculpture exhibitions.

3 Hyakudanen – One hundred lower steps of approximately 4.5m square are embedded to accompany the steep slope of the site, which is clearly visible from everywhere inside and outside the site. The huge steps and the flow of water create a sensory continuity from the mountains to the sea, and add color to the extraordinary scene of a series of simple geometric forms.
So it has developed like a collection of architectural group photos, but there were numerous checkpoints, so I will summarize the concrete park-like appearance tomorrow.

Posted on 3月 2nd, 2023 by 三木 奎吾
Filed under: 住宅取材＆ウラ話 | No Comments »

この淡路夢舞台の総工費は439億円〜約500億円と言われている。玉突き的な起動要因となった国家規模投資である「関西新空港」の総事業費はおおむね３兆円。金額サイズで考えると新たに創った公共基盤に対して1.67%程度の環境破壊復元費用がここでは掛かったという巨視把握になるかと。
一方、工事中の1999年の日本全体の政府・民間トータルの「建設投資額」は68兆5000億円あまり。同年の日本のGDPは約510兆円。対GDP比13.4％ほど。2023年度の建設投資額は約70兆円という見通し。建築と言うものが占める経済規模はおおむねこういった規模感。
この淡路夢舞台の「経済価値感」を把握するためのモノサシと言えるでしょうか。
「淡路夢舞台」建設概要〜建築主：兵庫県・（株）夢舞台＜第３セクター＞〜設計期間：1993/4-1994/12（震災前）1995/10-1996/12（震災後）　工事期間：1997.07-1999.12 2003.3オープン　敷地面積：213,930㎡　延べ床面積：95,078㎡　設計：建築／安藤忠雄建築研究所　施工／（株）竹中組、清水建設（株）など11社JV。〜以上、淡路夢舞台・趣意書より。


こういう国家的なプロジェクトに「総設計師」として想を巡らせた建築家・安藤忠雄氏の設計思想の表現として「都市ゲリラ」という言葉が有名。自身の言葉とされて以下のような言葉が語られる。
「われわれは、一人の指揮官と、その命令に従う兵隊からなる「軍隊」ではない。共通の理想をかかげ、信念と責務を持った個人が、我が身を賭して生きる「ゲリラ」の集まりである。」
安藤忠雄作品は、小さな住宅である「住吉の長屋」とか、司馬遼太郎記念館から直島の地中美術館など多数を巡り歩いているけれど、壮大なスケール感ということではこの淡路夢舞台はまさに圧巻。
普段は住宅が自分の想像力サイズなのに対し、この規模感ははるかに想定外（笑）。ほとんど地形全体「風景」のデザインと言うに近い感覚です。

English version⬇

Awaji Yumebutai: A 50 billion yen natural remodeling project
The total construction cost and the size of the space are truly big. The boundary between architecture and landscape/environment seems blurred. It has the feel of Tadao Ando’s “Labyrinth” world (laughs). Laughs.

The total construction cost of the Awaji Yumebutai is said to range from 43.9 billion yen to about 50 billion yen. The total project cost of the “Kansai New Airport,” a national-scale investment that became the starting factor for the project, was approximately 3 trillion yen. Considering the size of the cost, it would be a macroscopic figure that the cost of restoring environmental destruction was about 1.67% of the cost of the newly created public infrastructure.
On the other hand, the total “construction investment” of the Japanese government and private sector in 1999, when the construction was underway, was 68.5 trillion yen. Japan’s GDP in the same year was approximately 510 trillion yen. The construction investment in FY2023 is expected to be about 70 trillion yen. The economic scale of the construction industry is roughly in this range.
This is a rough measure to grasp the “economic value” of the Awaji Yumebutai.
Awaji Yumebutai construction outline – Architect: Hyogo Prefecture, Yumebutai Corporation (third sector) – Design Period: 1993/4-1994/12 (before the earthquake) 1995/10-1996/12 (after the earthquake) Construction Period: 1997.07-1999.12 Opened March 2003 Site Area: 213,930m2 Total Floor Area: 95 Design: Construction: Takenaka Corporation, Shimizu Corporation, and 11 other companies (JV).

The term “urban guerrilla” is well known as an expression of the design philosophy of the architect Tadao Ando, who was the “general designer” of these national projects. The following words are said to be his own words.
We are not an “army” consisting of a single commander and soldiers who follow his orders. We are a group of guerrillas, individuals with common ideals, convictions, and duties, who live their lives at their own peril.
I have visited many of Tadao Ando’s works, from the small house “Sumiyoshi no nagaya” and the Ryotaro Shiba Memorial Museum to the Chichu Art Museum on Naoshima, but in terms of grand scale, this Awaji Yumebutai is truly a masterpiece.
While I normally live in a house the size of my imagination, this scale is far beyond what I expected (laughs). It is almost like designing a “landscape” of the entire topography.

Posted on 2月 28th, 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 »

本日から関西圏の淡路島・淡路夢舞台の話題をシリーズで。
淡路夢舞台は、関西空港建設での埋め立て用土砂の採掘跡地を蘇らせるという自然破壊からの環境再生を目的に、建築家・安藤忠雄によって設計された複合施設。氏の建築空間の代表作とも言われる。
たまたま淡路夢舞台にあるホテル、グランドニッコー淡路に宿泊。安藤建築は関西圏ではたくさん接していてやはり好感を持っている建築空間設計者。しかし関西には距離感もあってこの「淡路夢舞台」について事前知識はあまりなかった。ホテルからの回遊式通路室に情報が掲出されていて安藤氏の構想スケッチなども参観。しかしじっくりと整理する時間はなく、今回ようやく写真や情報を整理して全体像を再構成。
世間的には何周も遅れての体験ですが、その空気感も含めてまとめておきたい。感じたこと、掘り下げるところなど自分の体験をベースにブログ連載としては最適かと思える次第。まずは淡路夢舞台の地形的な事情や歴史について掘り下げるところからはじめたいと思います。

この淡路夢舞台は上のGoogleMap地図の地理位置（赤いマークの位置）。関西圏全体としての経済活性化策として1994年に開港した「関西空港」。わたしもよく関西圏に行くのに利用します。世界からの関西圏玄関口として非常に大きな位置。この海上空港の建設に当たって当然ながら、埋め立てのために大量の土砂が必要。
関西圏でこうした大規模開発事業が行われるときには瀬戸内海地域の島嶼から資源が徴用されることは、歴史的に連綿と続けられてきた。土砂や岩石運搬には海上交通がもっともコストが安い。大阪城石垣は瀬戸内海諸島からの岩石が徴用された。同様のことが1994年当時も活発に行われこの淡路島東岸の「夢舞台」地域から大量の土砂が採掘され利用された。

結果、この風光明媚な淡路島の東岸地域は激しく自然破壊された。こうして破壊された跡地をさてどう再生させていくのか、今回ブログシリーズはそのプロセスと状況ルポ。＜以下明日以降＞

English version⬇

Awaji Yumebutai: Environmental Restoration from Destruction of Nature by Kansai International Airport Construction – 1
Osaka Castle stone walls were mined in large quantities from islands in the Seto Inland Sea. The modern KIX also destroyed nature, including Awaji Island. This is a report on the restoration of the Yumebutai. The reportage of “Yumebutai”, its restoration.

Today we begin a series on Awaji Yumebutai, Awaji Island in the Kansai region. Awaji Yumebutai is a complex designed by architect Tadao Ando for the purpose of environmental restoration from the destruction of nature by revitalizing a former landfill site for the construction of Kansai Airport. It is said to be one of Mr. Ando’s masterpieces of architectural space.
I happened to stay at the Grand Nikko Awaji, a hotel in Awaji Yumebutai. I have come in contact with many Ando architects in the Kansai region, and I have a good impression of him as a designer of architectural space. However, due to my distance from the Kansai region, I did not have much prior knowledge of the Awaji Yumebutai. I saw the information posted in the circulation room from the hotel, and saw Mr. Ando’s conceptual sketches. However, I did not have time to take the time to carefully organize the information, and this time I finally sorted through the photos and information to reconstruct the entire picture. Although I experienced the event many laps behind the rest of the world, I would like to summarize my experience, including the atmosphere of the event. I thought it would be best for a blog series based on my own experience, including what I felt and what I dug into. I would like to start by delving into the topographical situation and history of Awaji Yumebutai.

This Awaji Yumebutai is the geographic location (marked in red) on the GoogleMap map above. Kansai Airport opened in 1994 as a measure to revitalize the economy of the Kansai region as a whole. I often use the airport to go to the Kansai region. The airport is located in a very important position as the gateway to the Kansai region from the rest of the world. Naturally, the construction of this offshore airport requires a large amount of earth and sand for land reclamation. Whenever such large-scale development projects are undertaken in the Kansai region, resources are requisitioned from islands in the Seto Inland Sea area, a practice that has continued throughout history. Marine transportation is the most cost-effective way to transport earth, sand, and rocks. The stone walls of Osaka Castle were built using rocks from the islands of the Seto Inland Sea. Similar activities were actively carried out in 1994, when a large amount of earth and sand was mined and used from the Yumebutai area on the east coast of Awaji Island.

As a result, the scenic east coast of Awaji Island was severely destroyed. In this blog series, we report on the process and situation of how to restore the destroyed site.
＜The following is a report on the process and situation.＞

Posted on 2月 26th, 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 | 2 Comments »

さて東京上野の「下町風俗資料館」展示から、こども文化の推移について掘り起こしてきた。個人的に肉体体験のある「紙芝居」や「パッチ（メンコ）」のことを辿ってみると、子ども文化としての「いつの世も変わらない」部分が浮き彫りになってくる気がしてならない。
とくにメンコについてはその出自が江戸時代まで確実に遡れる証拠があると見せられると、人間本然の部分での「感受性」で江戸期のこどもたちとも深い共感を強く持つようになる。ただ、その本然が時代によってさまざまな表情を見せるだけなのだというように気付かされるのだ。
そうした幼少期体験の基底的「文化性」は、わたしたち戦後世代としては子ども向け雑誌＝マンガ雑誌へとメディア化していった。展示資料では写真のような少年・少女雑誌が提示されていた。これらの雑誌にはわたしは記憶がなく、わたし年代より以前の子どもたちに愛読されたものなのだろうと思う。
その選択が兄弟たちの共通的選択だったのかどうか不明だけれど、わたしは「少年画報」という雑誌にどっぷりとハマり込んでしまっていた（笑）。

基本的には紙芝居由来の「ストーリーマンガ」に圧倒的にのめり込んでいた。不思議なものでこういう特定メディアに惹き付けられると「その世界から世間を見る」みたいな感覚に襲われていたと思う。
この雑誌では他誌で華々しく一世を風靡していた手塚治虫作品がなかなか掲載されなかったのが、あるとき「マグマ大使」という作品が登場した。そのときすでに「眼光紙背に徹して」いた少年期のわたしは、出版社と大作家・手塚治虫さんとのビジネス的な交渉とか関係性までをおもんばかるようにまでなっていた。「あれ、どうも関係がうまくいってないんじゃないか・・・」みたいな（笑）。特定メディアから知らず知らずに影響される党派制・立場のようなものに縛られていたように思うのだ。
その後、自分自身が出版＝メディアというビジネスの周辺領域で生きるようになった内面的な動機を占めているのかもしれない。

English version⬇

Cultural Consolidation into “Magazine Media” for Children: Postwar Children’s Culture-5
Children’s culture became a medium of manga magazines in postwar society. The dramatization and supplement culture sublimated the picture-story show and menko culture. The…

Now, I have been digging into the transition of children’s culture from the “Shitamachi Fuzoku Shiryokan” exhibition in Ueno, Tokyo. When I trace back to my personal physical experience of “picture story shows” and “patches (menko),” I cannot help but feel that the “unchanging” aspects of children’s culture come to the fore.
In particular, when we are shown evidence that the origin of menko can be traced back to the Edo period (1603-1868), we can strongly sympathize with the children of the Edo period in terms of their “sensitivity” to human nature. However, they realize that this naturalness only shows different expressions depending on the time period.
The fundamental “cultural nature” of such childhood experiences became media for us, the postwar generation, in the form of children’s magazines (manga magazines). In the exhibition materials, magazines for boys and girls like the one shown in the photo were displayed. I have no memory of these magazines, and I think they must have been read by children before my generation.
I am not sure if this was a common choice among my brothers and sisters, but I was completely absorbed in a magazine called “Shonen Gaho” (laugh).

Basically, I was overwhelmingly absorbed in “story manga” derived from picture story shows. It is a strange thing, but when I was attracted to this particular media, I felt as if I was “looking at the world from that world.
One day, however, “Magma Ambassador” appeared in the magazine. At that time, I was already “devoted to the light of the eye,” and I had come to care about the business negotiations and relationship between the publisher and the great author, Tezuka Osamu. I was even concerned about the business negotiations and relationship between the publishing company and the great author Osamu Tezuka. (laugh). I think I was bound by a kind of partisan system or position that was unknowingly influenced by certain media.
Perhaps this accounts for the internal motivation that led me to live on the periphery of the business of publishing=media.

Posted on 2月 24th, 2023 by 三木 奎吾
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わたしが幼年期だったいまから60数年前当時、子どもたちは紙芝居に目が釘付けになる一方、冬場でも室内でカラダいっぱい使ったゲームとして「パッチ」に精を出していた。写真のような丸い厚紙に強そうなイラストが描かれたり、有名なプロスポーツ選手の写真などが印刷されたもの。北海道札幌では、このゲームのことをパッチと言っていたけれど、子ども同士のウワサで「メンコ」というのが東京ではあるらしい、という不思議な会話があった。
メディアが情報独占していた時代なのでWEBのように情報を自分で探索はできなかった。ジモティーたち同士ではそれ以上、詮索する方法も考えつかず、この不思議な「メンコ」という名前が頭の片隅でガン細胞化した。「東京に行ってみたい」という同年代少年少女たちの意識下の刷り込み起点に、このメンコへの疑問がとぐろを巻いていた。実際に東京に行ったらそういう意識下世界のことはまったく忘却されていたけれど（笑）。


＜写真と図は公益財団法人さっぽろ青少年女性活動協会PDF資料より＞

この解決不能のまま放置されてきた疑問がようやく解明された。結論はこのふたつの名称は同じゲームについての表現ということ。メンコという言葉はより始原的で漢字を当てるとすると「面子」だそうで、上の写真の2枚目のようなちょっと「馬面」を想像させるような縦長形状。遊び方としてはすぐ上の説明の遊び方になる。縦型のものはわたしは見たことがない。
遊び方が進化してくるとより「円形」の方が最適となるので徐々に主流になってくる。北海道のような鄙ではその遊び方がすぐに想起できる「パッチ」という呼称が一般化したものでしょう。わたしの8才上くらいの兄たちもメンコという名前は使っていなかったと聞いた。
しかしこの遊び、保育園で育った平成生まれの息子に聞いたら、平成の世でも生き長らえていたそうで保育園でやっていたようです。で、名前はメンコだったとのこと。
縦に長い日本列島、文化の中心地と鄙との間で、共通語と方言が生まれるけれど、そのつい最近の実例なのかと思い至った。

English version⬇

Menco and Patch: Questions from Dosan-ko about Postwar Children’s Culture – 3
Today’s topic is a time-limited Jimotei dialect story. Is this an actual example of the creation of a common language and dialect between the first source region of culture, the capital city and the remote and rural areas? …

When I was a child, more than 60 years ago, children were glued to picture-story shows and played “patch” indoors in the wintertime, using their whole bodies. The game was played on a round piece of cardboard, like the one in the photo, with strong-looking illustrations or pictures of famous professional athletes printed on it. In Sapporo, Hokkaido, this game was called “patch,” but there was a curious conversation among the children about a rumor that it was called “menko” in Tokyo.
In those days when the media had a monopoly on information, it was not possible to search for information by oneself, as was the case with the Web. The boys could not think of any way to inquire further, and the mysterious name “Menko” became a cancerous cell in a corner of their minds. The question of this menko was curling around the imprint of the boys and girls of the same age who wanted to go to Tokyo. When I actually went to Tokyo, I was completely oblivious to this subconscious world (laughs).

This question that has been left unanswered has finally been clarified. The conclusion is that the two names refer to the same game. The word “menko” is more primitive and is said to be “menko” in Chinese characters, and its vertical shape reminds one of a “horse’s face,” as shown in the second photo above. The way to play with it is as explained above. I have never seen a vertical one.
As the playing style evolves, the “circular” shape becomes more optimal and gradually becomes the mainstream. In remote areas such as Hokkaido, the name “patch” is probably more commonly used, as it immediately reminds people of this way of playing. I was told that my older brothers, who were about eight years older than me, did not use the name “menko” either.
However, when I asked my Heisei-born son who grew up in a nursery school about this play, he told me that it had survived even in the Heisei era and was played at the nursery school. He told me that the name of the game was Menko.
I wondered if this was a recent example of the common language and dialects that emerge between the cultural centers and the outlying areas of Japan’s long, vertical archipelago.

Posted on 2月 22nd, 2023 by 三木 奎吾
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