歌垣というのは人間の本然・種の保全本能に基づく男女の出会いの場。
そこには当然ながら普遍的な人間模様が表現される。
人類はながい歴史を刻む中で出会いの機会を文化として創造してきた。
万葉集はそういう「歌」文化を基盤として成立したとされる。
歌はもともと声に出して節を付けてうたうものとされる。
相聞という形式には始原的な告白要素がある。
「はないちもんめ」ではズバリ「◎◎ちゃんが欲しい」という告白が
お互い集団で囃しあうリズムと声出しの声援の中で
モジモジせずに自分の気持ちを正直に出してうたう、という形式文化。
ふだんは正直に自分の気持ちを表せない人間でも、
ああいった形式の中ではごく自然に表出させられる。
「どうせ、はないちもんめなんだから、思い切って・・・」
人間社会が考えた子孫繁栄維持のたぐいまれな知恵なのだろうと思う。
口に出して言って見ると相手の表情がそのときクローズアップされて
「あ、まんざらでも無いのか、やった！」という展開（笑）。
さまざまな楽器の演奏というのも、その雰囲気作りだともいえる。
万葉集という「歌」の基本はこうした相聞文化。
それが日本語コミュニケーション形式では五・七・五という
リズム感が自然と規範化されていったのだろうけれど、
文字化される前からも、こういう韻や「リズム感」は重要だったのだろう。
日本人の心理の奥底に強く訴えかけるものがあるのに違いない。
ながく社会として隣国関係である、
中国雲南省石宝山にも結婚相手を求める現系的な歌垣が残っている。
男女が数時間にわたって情熱的な即興の歌を交わし合う。
中国貴州省トン族には、最初はなぞなぞ問答のような歌の掛け合いで
相手の人格や知識などを判断し、やがて意中の人が決まると
「誓い」の歌となるという習俗文化がある。

一方、こうした歌垣の場で「芸能」が始原していったとされる。
歌垣は「都市」の原型とも言える人間交流の場となっていったが、
その発達とともに芸能も多様化し、洗練されて高度な技芸をもった
専門「芸能人」を生んでいくことになった。
万葉集巻十六に残された歌には、神事芸能としての「鹿踊り」に関する歌や
カニや鹿の様態を模した所作を伴って祝言を述べた芸能の歌がみられる。
日本列島社会古来の芸能に加えて半島や大陸での芸能も伝承した。
３番目の写真は奈良の大仏開眼供養でも行われたとされる
中国の呉の国の「伎楽」の様子を表している万葉文化館での展示。
エンターテイメントとしての人間社会文化の飛鳥・万葉の時代の実相。
やがて日本では飛鳥から奈良にむかって
本格的な「都市形成」が進展していくことになる。
いかにも日本人のまほろばを感じさせられる。・・・

English version⬇

[Utagaki and Performing Arts, Male-Female Love Culture Asuka Historical Testimony-7
◎◎-chan wanting “Hanaichimonme” collective hearing and confession. This is a human culture that is all about the survival of offspring. The origin of the entertainment that accompanies it. …

Utagaki is a place where men and women meet based on human nature and the instinct to preserve the species.
Naturally, it is a place where universal human patterns are expressed.
Throughout our long history, human beings have created opportunities for encounters as part of their culture.
The Manyoshu is said to have been founded on the basis of such “song” culture.
Songs were originally meant to be sung aloud and accompanied by a verse.
The form of “aibun” has the element of primitive confession.
In “Hanaichimonme,” the confession, “I want ◎◎chan,” is sung to the rhythm of the group’s musical accompaniment.
In the rhythm of the group’s musical accompaniment and the cheering of their voices
The formal culture of the song is to express one’s feelings honestly and without hesitation.
Even people who normally cannot express their feelings honestly
In such a formality, people who normally cannot express their feelings honestly are able to do so naturally.
In this way, the song is a formality that allows people who normally cannot express their feelings honestly to do so.
I think this is a unique wisdom of human society to maintain the prosperity of offspring.
When you say it out loud, the expression on the other person’s face comes into focus, and you can see that he or she is not surprised.
“Oh, so they’re not satisfied, huh? (laughs).
The playing of various musical instruments can also be said to create such an atmosphere.
The basis of the poetry of the Manyoshu is the culture of “sōmon,” or “hearing and hearing again.
In the Japanese communicative form, the rhythm of the five-seven-five syllable form was naturally normative.
The rhythm of the five-seven-five syllables is a natural norm in the Japanese communication system, but even before it was written down, it was still used to create a certain atmosphere.
Even before the Japanese language was written, this sense of rhyme and rhythm must have been important.
It must have had a strong appeal deep in the psyche of the Japanese people.
The Japanese have long been neighboring societies.
In Shihbaoshan, Yunnan Province, China, there are still songagaki, a traditional form of seeking a marriage partner.
Men and women exchange passionate impromptu songs for several hours.
The Tong people of Guizhou Province, China, use a riddle-like singing contest to determine the personality and knowledge of the other person.
The Tong people of Guizhou Province, China, have a tradition of singing songs that at first resemble riddles to determine the personality and knowledge of the other person.
When the person they are interested in is decided, they sing a song of oath.

It is said that the “performing arts” originated at these “utagaki” gatherings.
Utagaki became the prototype of the “city” as a place for human interaction.
As the performing arts developed, they diversified and became more sophisticated, giving rise to specialized “entertainers” with advanced skills and techniques.
The development of the performing arts also gave birth to specialized “entertainers” with sophisticated and advanced skills.
In the poetry preserved in the Manyoshu (Anthology of Myriad Leaves), scroll 16, there is a song about the “Deer Dance” as a Shinto ritual art, as well as a song that describes the appearance of crabs and deer.
In addition to the ancient performing arts of the Japanese archipelago, there are also songs about the celebration of festivals accompanied by gestures that imitate crabs and deer.
In addition to the ancient performing arts of the societies of the Japanese archipelago, the performing arts of the peninsula and the continent were also handed down.
The third photo shows a performance of the “Gigaku” from the Wu Dynasty in China, which is said to have been performed at the opening ceremony of the Great Buddha in Nara.
This exhibit at the Manyo Culture Museum shows “Gigaku” from the Chinese province of Wu.
The reality of the Asuka and Manyo periods of human social culture as entertainment.
In Japan, the “city formation” progressed in earnest from Asuka to Nara.
The “city formation” progressed in earnest from Asuka to Nara.
This is a very Japanese Mahoroba. …

Posted on 6月 27th, 2022 by 三木 奎吾
Filed under: 日本社会・文化研究, 歴史探訪 | No Comments »

感染症による社会閉塞、通常のコミュニケーションが不通となるなかで
国交省からこれまでの省エネ等級基準に対してあらたに
等級６と７が発表され、国会でも通過した。
こうした状況を受けて建築業界の「世論」がどう反応していくのか、
依然として感染症による他者非難の暴風圧があるなかでは
自由闊達な意見交換機会が再開されるまでに至っていない。
本来、国の基準更新はもっと自由な対話環境が必要ではないかとは思う。
まぁしかし、現実はこのように進行しているので対応して行く必要がある。

寒冷地では自由往来も限定され住宅関係の団体ミーティングも
ようやく６月くらいから萌芽的に再開してきている。
北海道でも来週にアース21の例会がリアルとZoomのハイブリッド開催。
新住協札幌支部の会合も「現場見学会」のみ先週開催というところ。
当然、省エネ等級更新、最上位等級７についての
自由な意見交換もまだ聞くことが出来ない。
そんななか、新住協関西支部の６月の勉強会が開催されて
久しぶりに鎌田紀彦代表理事の講演を聴講することができた。
今回の等級７基準について、それに対応する断熱手法を検討するもの。
関西支部での勉強会なので基本的には温暖地域での対応法が検討されていた。
ただ、わたし的には寒冷地１〜２地域での断熱手法に当然興味を持っていた。
徹頭徹尾、図表と数式による講演でしたが、
そのなかで寒冷地に示されていたのは図のような外壁構成。
案の上ではありますが、北海道では壁厚300mm超というのが対応法になる。
断熱材の厚みで210＋100mmで、その外側に外装が施される想定。
壁厚は普通に考えれば350mm超になっていく。
単純に４間四方の16坪平面の住宅を想定すると、おおむね３坪面積相当の
断熱壁ということになる。比例で言えば100：18.75の比率。
パッシブハウスというドイツ主唱の基準は北海道ではほぼ無理筋と
一顧だにされなくなった。それが寒冷地住宅市場の常識的反応。
少なくとも都市環境・狭小敷地化が進行する最大消費地域・札幌で
外壁占有率が２割近いというのは現実的ではないという市場反応です。
人間は外壁をつくるために家を建てるのではない。
たのしく暮らすために家を建てるのであって、基準のためではない。
また鎌田先生の講演ではこの基準対応のコストアップが
かなり大幅にならざるを得ず、ユーザーの支持が得られるかどうか、
といった提起もされていた。課題の最先端地域そのもの。

温暖地の住宅性能を向上させる基準誘導には意味がある。
いま北海道で普通に建てられている断熱仕様の住宅を温暖地で建てれば
最高等級７は容易に実現する。寒冷地市場が先導して実現のコスト合理性もある。
しかし一方で、寒冷地域のユーザーはこの新基準にどう反応していくか、
かなり視界不透明ではないかという印象を持った次第。・・・

English version⬇

New Energy Conservation Standard, Highest Grade 7, Now in Cold Regions?
The cold region housing market has pioneered energy-saving insulation methods and achieved cost reductions through mass construction. Now, with the Grade 7 standard, we are once again at the “cutting edge of the issue. …

Amidst the social blockage caused by infectious diseases and the lack of normal communication
The Ministry of Land, Infrastructure, Transport and Tourism (MLIT) has announced new energy conservation grade standards
The Ministry of Land, Infrastructure, Transport and Tourism (MLIT) has announced new energy efficiency rating levels 6 and 7, which were also passed by the Diet.
How will “public opinion” in the building industry react to this situation?
With the storm pressure of blaming others due to infectious diseases still in place, it is difficult to know how the public will react.
The opportunity for a free and vigorous exchange of opinions has not yet resumed.
In essence, I think that the renewal of national standards requires a more liberal environment for dialogue.
Well, however, the reality is that this is the way things are progressing, and we need to deal with it.

In cold climates, free traffic is limited and housing-related group meetings are not being held.
Finally, meetings of housing-related organizations have begun to sprout from around June.
In Hokkaido, the Earth 21 meeting will be held next week as a hybrid of real and Zoom.
The Shinjyukyo Sapporo Chapter also held a “site tour” only last week.
Naturally, the free exchange of opinions on the renewal of the energy efficiency rating, the highest rating of 7, has yet to take place.
The New Jyukyo Kansai Branch is also holding a hybrid meeting of real life and Zoom.
In the meantime, the June study meeting of the Shinjyukyo Kansai Branch was held.
I was able to listen to a lecture by Representative Director Norihiko Kamata for the first time in a while.
The lecture was about the new Grade 7 standard and the corresponding heat insulation methods.
Since it was a study session of the Kansai Branch, basically the methods to be used in warm regions were discussed.
However, I was naturally interested in the insulation methods for the first two cold regions.
The lecture was based entirely on charts and mathematical formulas.
In the lecture, he showed the exterior wall configuration for cold regions as shown in the figure.
Although it is just a suggestion, in Hokkaido, the corresponding method is to have a wall thickness of over 300 mm.
It is assumed that the thickness of the insulation is 210 + 100 mm, and the exterior is applied on the outside of the insulation.
The wall thickness would normally be over 350mm.
Assuming a simple 4-ken square 16 tsubo flat house, this means that the insulation wall is equivalent to an area of approximately 3 tsubo.
It means that the insulation wall is equivalent to about 3 tsubo area. The ratio is 100:18.75.
The German standard of “passive house” is now considered to be almost impossible in Hokkaido.
The German standard of “Passive House” is no longer considered a viable option in Hokkaido. This is the common-sense reaction of the cold-region housing market.
At least in Sapporo, the largest consumption area in Japan, where the urban environment and small lot sizes are progressing, the percentage of exterior walls occupied by houses is close to 20%.
The market reaction is that an exterior wall occupancy rate of nearly 20% is unrealistic, at least in Sapporo, the largest consumption area in Japan, where urban environments and small lot sizes are progressively being developed.
People do not build houses to build exterior walls.
They build houses to live happily, not for the sake of standards.
In addition, Dr. Kamada’s speech showed that the cost increase to comply with this standard would have to be quite large, and that the support of users would be very important.
The cost increase to comply with this standard would have to be quite large, and he wondered whether he would be able to gain the support of users.
The area itself is at the forefront of the issue. The region itself is at the forefront of the issue.

It is meaningful to induce standards that improve housing performance in warmer regions.
If houses with insulation specifications that are commonly built in Hokkaido are built in warmer regions, it is easy to achieve the highest grade 7.
the highest grade 7 can be easily achieved. The cold-region market is leading the way, and there is cost rationality in achieving this.
On the other hand, however, I have the impression that users in cold regions may not be so sure about how they will react to the new standard.
I have the impression that the market in cold regions is not very clear. …

Posted on 6月 25th, 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 »

ことしは聖徳太子没後1400年ということだそうで、
なかなかかわいらしいイラストによる告知がされている。
飛鳥寺からは摂政であった太子と大臣・蘇我氏の関係性もうかがえる。
上の写真は現地を歩くと飛鳥寺とは指呼の間である飛鳥の池工房。
本当に歩いて数分、距離にしたら200-300mなので
今日の感覚で言えば、寺の隣に仏像制作工場が隣接している感じ。
なので飛鳥大仏制作責任者・鞍作止利は頻繁に工房と寺を往復していたに違いない。
権力中枢が深く関与する崇高な秘事・仏像制作風景というよりも
なにか牧歌的なものづくりプロセスを感じさせてくれる。
この時代の仏像工房がこの「池工房」だっただろうという
推測に基づいた考え方だけれど、この時代の最先端技術の集中的施設が
ここ以外に別に存在したと考えるよりも、より蓋然性が高いと思う。
そういえば飛鳥大仏を、完成した寺のなかに入れる段になって、
建築寸法と仏像本体に齟齬が発見されて止利仏師の機転で無事入れられた、
というような家内制手工業のような逸話も残されている。
仏教導入という日本の権力機構にとっての飛躍的事業の実質とは、
生々しい昔人の奮闘ぶりだったとまざまざと想起させてくれる。

仏像制作者たちと寺との距離がその程度であり、
また朝鮮半島から大工職人たちが最先端木造工法技術者として招かれ
この飛鳥寺建設にフルに従事していたというのだから、
この時代の生き生きとした仕事ぶりが立ち上ってくる。
棟梁クラスの半島大工職人の手下スタッフとして
日本人の大工さんたちも忙しく立ち働いていた光景が想像できる。
たぶん半島と日本ではコトバも通じていた可能性が高い。
聖徳太子の生年は574年2月7日とされ、
一方の飛鳥寺の創建は日本書紀では587年とされる。
そうすると、13-4才の多感な時期にこのような飛鳥寺建設に遭遇していた。
この時代の最先端、総力を挙げたプロジェクトがかれに植え付けたものはと
強く想像力を刺激されてならない。絵柄の年代もちょうど感。
飛鳥板蓋宮もここから歩いても十数分の距離感。
なにやら池工房での活発な金属加工そのものが日本国家を創成したような
そんな実感が強く胸に迫ってくるのですね。
わたしたちには現代国家という機構組織にどうしても
アナロジーして過去の国家の姿を類推する習慣が強いのだけれど、
本当に「家内制手工業」的に国家は作られた、みたいな感慨を抱く。

そんなことを妄想していたら、昨日は建築家の丸谷博男さんが来札されて、
夕方６時からたっぷり４時間ほど少人数で意見交換させていただいた。
氏は東京芸大建築の本流のような立場の方なので、
自然とこういう国宝的仏像制作の調査研究ということに話がつながった。
東京芸大では国の始原期の芸術作品についても現場的に立ち入るのだという。
「どうやって作ったのか」についても独特の話題が飛び出して痛快（笑）。
リアリティで盛り上がっておりました。また明日以降。

English version⬇

Asukadera Temple, “Ike Kobo” & Prince Shotoku Asuka Historical Testimony-4
Asuka Daibutsu and the vivid process of its creation, which the boy Prince Shotoku gazed at with a sparkle. The introduction of Buddhism and the atmosphere of nation building. …

This year is the 1,400th anniversary of the birth of Prince Shotoku.
The announcement with a rather cute illustration is on the website.
The Asukadera Temple also shows the relationship between the prince, who was a regent, and his minister, the Soga clan.
The photo above shows Asuka-no-ike Kobo, which is only a few minutes’ walk from Asukadera Temple.
It is really only a few minutes’ walk, or 200-300 meters in distance, so
In today’s sense, it is like a Buddhist statue production factory is adjacent to the temple.
Therefore, Kurusaku Tomotoshi, who was responsible for the production of the Asuka Great Buddha, must have frequently traveled back and forth between the workshop and the temple.
Rather than a scene of the production of Buddhist statues, a sublime and secretive matter in which the center of power is deeply involved, this is a scene of an idyllic manufacturing process.
The workshop of this period was called “Buddhist statue workshop”.
I am assuming that the “Pond Studio” was the Buddhist statue studio of this period.
It is my assumption that the “Pond Studio” was the Buddhist statue workshop of this period.
It is more probable than thinking that there were other facilities other than this one where the most advanced technology of this period was concentrated.
Come to think of it, when it came time to put the Asuka Daibutsu inside the completed temple, there was a problem with the dimensions of the building and the Buddha statue itself.
When it came time to put the Asuka Giant Buddha into the completed temple, a discrepancy was found between the dimensions of the building and the main body of the Buddha statue.
The story goes on to say that the Asuka Daibutsu was installed in the temple after it was completed.
The reality of the great leap forward for the Japanese power structure in the introduction of Buddhism is
The distance between the Buddhist statue makers and the temples is a long distance between the Buddhist temple and the people who made them.

The distance between the Buddhist statue makers and the temples was about the same.
Carpenters from the Korean Peninsula were invited to Asukadera Temple as the most advanced woodworkers and were fully engaged in the construction of Asukadera Temple.
and were fully engaged in the construction of Asukadera Temple.
The vividness of the workmanship of this period comes to the fore.
The Japanese carpenters were also busy working as the subordinate staff of the master carpenters of the peninsula.
Japanese carpenters were also busy working for the master carpenters of the peninsula.
It is highly likely that the Japanese and the Peninsula spoke the same language.
Prince Shotoku was born on February 7, 574.
The Chronicle of Japan states that Asukadera Temple was built in 587.
This means that he encountered the construction of Asuka-dera Temple at the impressionable age of 13-4.
What was the most advanced and all-out project of the time that stimulated his imagination?
The age of the paintings is also just the same. The age of the picture is also just the same.
Asuka Itabatagu Palace is only a ten-minute walk from here.
It seems as if the active metalworking at the Pond Studio itself created the nation of Japan.
Such a feeling comes to my mind strongly.
We cannot help but draw an analogy between the organization of the modern state and
We have a strong habit of making analogies with the past state by looking at the structure of the modern state.
I feel as if the nation was really created in a “cottage industry” style.

While I was thinking about this, architect Hiroo Marutani visited my bid yesterday and spent a full four hours with me from 6 pm.
We had a small group discussion from 6:00 pm for about four hours.
Mr. Marutani is a member of the mainstream of Tokyo National University of Fine Arts and Music’s architecture department.
The discussion naturally led to this kind of research and study on the production of Buddhist statues that are national treasures.
He told me that the Tokyo National University of Fine Arts and Music also conducts on-site research on artworks from the country’s earliest days.
The unique topic of “how they were made” was also discussed and painfully discussed (laughter).
We were excited by the reality. See you tomorrow and later.

Posted on 6月 23rd, 2022 by 三木 奎吾
Filed under: 日本社会・文化研究, 歴史探訪 | No Comments »

さて昨日からふたたび飛鳥の探究をしたい、それも金属工房などをテーマに、
と考えていたのですが、実は以前から調子悪かったわたしのMac環境が
大きな悲鳴を上げて緊急のトラブル対応に追われておりました（泣）。
データを収めている2TB-HDDが頻繁に不安定になり、
このままではデータとの連係が不可能になる、
最悪の場合、貴重な過去データ資産が参照できなくなる可能性。
もちろんすべてのデータなので業務上も緊急を要するデータ管理作業。
ということで、昨日は午後からデータ移転のSSD環境を購入し、
そこからひたすら2TB-HDDのご機嫌を伺いながら慎重にバックアップ作業。
結局は夜通しの作業になって、各種データの移転をしつつ仮睡。
ようやく明け方になってとりあえずの安定的新環境（SSD）で稼動できた次第。
現在はハラハラヒヤヒヤからようやく解放された気分。

という状況なので、きのうから始めたシリーズはいきなりのブレーキ（泣）。
やはりMac環境はすべての基礎なので特定テーマの掘り下げ型思考にしても
それが大前提なのだと気付かされます。
なので本日は時間の無さを神仏に頼って、おなじ飛鳥の飛鳥寺テーマ（笑）。
なんどか訪問させていただいている日本最初期の仏教寺院。
鞍作止利作のご本尊のお姿は、わたし的にはなんとも癒されるのです。
なんででしょうか、よくわからないけれど仏教思想への素朴な心情が
日本の民の心として反映された最初期の芸術品と思えるのです。
作り手の名前もわたしが受けた歴史教育で憶えた最初期の人物名。
その名付けの素朴さがこころに心地よく響いてくる。
その後の時代の、だんだんと格式表現化のような名とは違う印象で
本尊の表情のたおやかさにはそういった印象が刻み込まれている。
「なんとかMac環境引っ越しできてよかったね」
みたいにやさしくねぎらってくれているように感じられる。
素直に「ありがとうございます」と感謝の祈りを捧げたくなる。

『書紀』605年、天皇は皇太子・聖徳太子、大臣・蘇我馬子、諸王諸臣に詔し
銅と繡の「丈六仏像各一躯」の造立を誓願し鞍作鳥（止利）を造仏工とした。
そして高麗国の大興王から黄金三百両が貢上されたという。
『書紀』によれば、銅と繡の「丈六仏像」は翌606年完成。
という事跡が解明されているのですね。
なので、大きなテーマから考えると横道に逸れているともいえない（笑）。
っていうか、大仏造立というのはこの時代の最先端金属加工技術そのもの。
「けっして横道では無いぞ」と飛鳥大仏さんが声かけしてくれているのかなぁ・・・。

English version⬇

Metalworking Technology of the Great Buddha of Asukadera Temple Asuka Historical Testimony-2
Trouble with my thinking environment Mac data equipment. I managed to recover a stable environment. I am grateful for the blessings of God and Buddha and the Asuka Daibutsu theme. Asuka Daibutsu theme.

Since yesterday, I’ve been thinking about doing another Asuka exploration, this time with a metal workshop as the theme.
But actually, my Mac environment, which has been in bad shape for a long time, has been screaming and I have been busy dealing with an urgent problem (crying).
I had to deal with an urgent problem with my Mac environment, which had been in bad shape for a long time.
The 2TB-HDD that contains the data became unstable frequently.
If this situation continues, it will become impossible to connect to the data.
In the worst case, we may not be able to refer to our valuable past data assets.
Of course, this is all data, so it is an urgent data management task for our business.
Therefore, yesterday afternoon, I purchased an SSD environment for data transfer.
From there, we carefully backed up the data while listening to the mood of the 2TB-HDD.
I ended up working through the night and slept while transferring various data.
Finally, at dawn, we were able to start operations in the new stable environment (SSD).
Now I feel like I’m finally free from all the worries.

So, the series that I started yesterday has suddenly hit the brakes (tears).
After all, the Mac environment is the foundation of everything, so even if I want to delve into a specific theme, it is important for me to realize that it is a prerequisite.
I realize that it is a prerequisite for any in-depth thinking on a specific theme.
So, today, I relied on God and Buddha to help me with my lack of time, and I visited the Asukadera temple in Asuka, the same place I visited several times in Japan.
This is the first Buddhist temple in Japan that I have visited many times.
The main image of the temple, by Kurazaki-Tsurisaku, is very soothing to me.
I don’t know why, but the simple sentiment of Buddhist thought is reflected in the hearts of the Japanese people.
I am not sure why, but I think it is one of the first works of art that reflects the simple sentiments of Buddhist thought as the heart of the Japanese people.
The name of the creator is also the name of a person from the early days of my history education.
The simplicity of the names resonates comfortably with me.
It gives me a different impression from the names of later periods, which gradually became more formal and expressive.
The graceful expression on the face of the main image of the statue is etched with such an impression.
He is gently congratulating me, as if to say, “I’m glad you managed to move to a Mac environment.
I feel as if he is gently thanking me.
It makes me want to offer a prayer of gratitude.

In the year 605 of the “Shoki (Chronicles of Japan),” the Emperor ordered the Crown Prince Shotoku Taishi, the Minister Soga Umako, and various kings and vassals to build a bronze and embroidery “Joroku (a temple)” and to build it in the year 605.
The emperor ordered the construction of one bronze and one embroidery statue each of Joroku Buddha, and appointed Kurusakudori (Juri) as the builder of the statues.
King Daeheung of Goryeo paid a tribute of 300 ryo of gold.
According to the “Shoki (Chronicles of the Book of Records), the bronze and embroidery “Joroku Buddha image” was completed in 606.
So, the “Jorokbutsu” statue was completed in 606.
So, it cannot be said that we are going sideways in terms of the main theme (laugh).
The construction of the Daibutsu is the most advanced metalworking technology of the period.
I wonder if Asuka Daibutsu is saying to us, “This is not a side road by any means.

Posted on 6月 21st, 2022 by 三木 奎吾
Filed under: Mac.PC＆DTP, 歴史探訪 | No Comments »

写真は札幌の地域ビルダー・三五工務店さんの最新モデル住宅。
公園に隣接した敷地を入手されてその立地を活かした活用。
やはり人間は自然の一部であるので、
機能要素だけでものごとを判断するようにはプログラムされていない。
なにがしか、癒しというか、感受性に訴求される領域が強い。
個人差があって、真っ白い床壁天井で適当な採光窓があれば、
それで十分で、あとは気に入った家具などで満足する、
という住宅の嗜好性もたしかに存在する。
そしてそういう空間性については施主さんの自由に任せるというのも
ひとつの見識でもあろうと思います。

しかし「作り手」もまた人間であって
「自分たちが考える快適空間」というコンセプトの部分もある。
モデルハウスというのはそういった作り手の表現手段。
こちらの住宅で吸い寄せられていたのが上の写真空間。
テレビが置かれる背景の壁面に札幌の地域建材「札幌軟石」が。
札幌は歴史がまだ150年程度なのですが、
開拓期に洋風建築に多く使われたのがこれなんです。
明治初年にはフランクロイドライトが東京周辺で建築活動して
大谷石という建材をたくさん使って都市風景の洋風化を仕掛けていた。
北海道札幌ではアメリカから開拓技師として多くの建築家たちがいた。
かれらもまた、地域の石材を探究してこの札幌軟石を発掘した。
北海道開拓のランドマークデザインとしての洋風建築群に
この建材が多く採用されて、ひとびとの脳裏に焼き付けられた。
日本人というのはこういう海外からの刺激に対して
あまり強い拒否反応というのは見られない。
欧米文明に対しても、過去のアジア圏での文化受容と同じように
柔軟に、そして好意的に受け入れてきたと言えるのでしょう。
ガラスという建材をもっとも積極的に受容したのが北海道でもあった。
はじめてこの札幌軟石建材が洋風木造建築の基本材料として
多くの人の目に触れたとき、わりと好意的に受容した。
ただ、一般住宅の外皮として利用するにはコスト的に割に合わなかった。

最近になって、この写真のようにインテリア構成に取り入れられ始めている。
テレビのような刺激的な動画再生装置の背景としては
あまり主張的ではなく、おだやかな表層印象が好ましく、
しかし視覚的刺激との対比に於いて一定のデザイン性は欲しい。
テレビ台、そしてその背景って深層心理的には「床の間」であるように思う。
いまは栄光の過去業績に包まれた地域を彩った建材が
こんなカタチで若いデザイン感覚が引き継いでくれることは喜ばしい。
シブいモノトーンだけれど子細に見れば多様な組成表情をみせる。
こんな現代住宅で育つ子どもたちの印象の基底に
こういう素材感覚が伝承されていくことは地域の歴史とシンクロもする。
しばし、目の保養をさせていただいていました。

English version⬇

Healing Power “Attachment” Comes from the Use of Local Materials
Ishiyama soft stone, a local building material, was discovered and utilized by construction specialists from North America during the Meiji pioneering period. Ishiyama soft stone, a local building material discovered and used by North American architectural experts in the Meiji Era (1868-1912). …

The photo shows the latest model house by Sango Corporation, a regional builder in Sapporo.
They obtained a site adjacent to a park and made full use of its location.
After all, human beings are part of nature.
We are not programmed to judge things based on functional elements alone.
There is something about healing, or the area that appeals to our sensitivity, that is strong.
It depends on the individual. If there is a pure white floor, walls, and ceiling, with appropriate lighting and windows, that is enough.
And then they are satisfied with their favorite furniture, etc.
There is also a preference for a house with white floors, walls, ceilings, and light windows, which is sufficient for the client.
And it would be a good idea to leave such a space to the client.
I think it is also a good idea to leave such a space to the client.

However, the “creator” is also a human being
and the concept of a “comfortable space as they see it” is also a part of their work.
A model house is a means of expression for such a creator.
In this house, I was drawn to the space in the photo above.
Ishiyama soft stone, a regional building material of Sapporo, is on the wall in the background where the TV is placed.
Sapporo has a history of only about 150 years.
It was used in many Western-style buildings during the pioneer period.
In the early Meiji period (1868-1912), Frank Lloyd Wright was active in building around Tokyo.
He used a lot of building material called Oyaishi to Westernize the urban landscape.
In Sapporo, Hokkaido, there were many architects from the U.S. who were pioneering engineers.
They also explored the local stone materials and discovered this Ishiyama soft stone.
Many Western-style buildings were built using this material as a landmark design for the development of Hokkaido.
This building material was used in many Western-style buildings as a landmark design for the development of Hokkaido, and it was burned into people’s minds.
Japanese people do not seem to have a strong rejection of this kind of stimulus from abroad.
Japanese people do not show a strong rejection reaction to such stimuli from overseas.
They are flexible and friendly toward Western civilization, just as they have been in the past
They have accepted Western civilization flexibly and favorably, just as they did in the past in Asia.
Hokkaido was also the most proactive in accepting glass as a building material.
For the first time, this Ishiyama soft stone building material was used as a basic material for Western-style wooden buildings.
When it first came to the attention of many people, it was accepted rather favorably.
However, it was not cost-effective for use as the exterior skin of ordinary houses.

Only recently have they begun to be incorporated into interior configurations, as shown in this photo.
As a background for exciting video playback devices such as televisions.
A less assertive, muted surface impression is preferable.
However, it should have a certain design quality in contrast to the visual stimulation.
The TV stand and its background is like an “alcove” in a deep psychological sense.
The building materials that colored the area, now enveloped in glorious past achievements, are now being used to create a new design.
I am glad to see young designers taking over in this way.
The monotone color is subtle, but if you look closely, you can see a variety of compositional expressions.
I hope that this kind of material sense will be passed on to the children who grow up in these modern houses.
The fact that this sense of materials is being passed on to the next generation is in sync with the history of the region.
I was able to feast my eyes for a while.

Posted on 6月 19th, 2022 by 三木 奎吾
Filed under: 住宅取材＆ウラ話, 住宅性能・設備 | No Comments »