昨日書いたように、10/12早朝から札幌を出て、旅路についております。
　宿泊は旭川の街の中のホテルなのですが、わたしたち夫婦の「数寄」で、北海道内でも屈指の思い出の風景地・三国峠を目指したのです。昨日の総走行距離は450kmほどという長距離運転旅。
　しかしそれでも、１日の「歩数」はわたしは10,000歩を超えカミさんも15,000くらいになっていた。（これは旭川到着後、便利な立地なので買い物行脚しすぎ（笑）の結果。）
　写真は、三国峠からのビューであります。ことしはすっかり紅葉は終わってしまっていましたが、相変わらずの巨視ビューポイントぶり。また、十勝の方からだんだんと上がっていく高度の途次にもたくさんのビューポイントがあるのです。毎年来ているのですが、昨年まではそれほどインバウンド系のみなさんは見かけなかったのですが、さすがにことしはたくさんのアジア系・欧米系のみなさんの姿が見られました。
　日本の観光資源が調べ尽くされて、円安環境のもと、こういう秘境ポイントも注目されてきている。
　で、わたしは久しぶりの長距離運転。どうかなぁと一抹の気がかりもあったのですが最終のホテルまでしっかりと安全運転を継続することができておりました（どやぁ）。まぁ加齢と共に安全運転度が向上して、ほぼ制限速度以内に留まって、後続車が「急ぎ気味」の場合には、適当な停車ポイントを見つけては駐車灯を点灯させて、大いに追い越し・パスをお願いしたりしての運転であります。
　ドライブ心理としては、せっかくの自然環境を愛でるのに、ゆっくり楽しみたいというもの。
　高齢者らしく「ながくお世話になっている自然環境に感謝」という思い一択なのでしょうか。
　ということで、夫婦で楽しく語らいつつ、ホテルにたどりついたのですが、そこでMacの周辺環境、ほとんどのデータ類が入っている外部HDDを忘れていたことに気付いてしまった（泣）。ありゃりゃ。
　執筆中のデータもない。う〜むであります。運転は順調だったけれどもの忘れという「加齢現象」が順調に（笑）襲ってきてしまった。
　旅の恥、でありますが「書き捨て」はせず、「毎日更新」はしっかり継続して、執筆は日延べして準備作業を重ねたいと思います。予定は２泊３日。どうぞよろしく。
　

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[Oops! I left my data HDD behind. Better to be safe than sorry…]
I was so focused on getting ready for the long drive that I accidentally left something behind in my PC workspace. Oh well. I’ll just make the best of it and have a fun, meaningful trip within the limits of what I can do…

　As I wrote yesterday, we left Sapporo early in the morning on October 12 and are currently on our journey.
　Although we’re staying at a hotel in downtown Asahikawa, my wife and I—driven by our shared passion—set out for Mikuni Pass, one of Hokkaido’s most memorable scenic spots. Yesterday’s total driving distance was about 450 km—a long road trip.
　Even so, my “step count” for the day exceeded 10,000, and my wife’s was around 15,000. (This was the result of us going on too many shopping sprees after arriving in Asahikawa, thanks to its convenient location (lol).)
　The photo shows the view from Mikuni Pass. Although the autumn foliage had completely faded this year, it still offered its usual spectacular panoramic view. There are also plenty of scenic viewpoints along the route as you gradually climb in elevation from the Tokachi region. I’ve been coming here every year, and while I didn’t see many international tourists until last year, this year I definitely noticed a lot of Asian and Western visitors.
　With Japan’s tourist attractions having been thoroughly explored and the yen remaining weak, even these hidden gems are starting to attract attention.
　As for me, it had been a while since I’d driven such a long distance. I had a slight worry about how it would go, but I managed to drive safely all the way to our final hotel (take that!). Well, as I’ve gotten older, my safe driving habits have improved—I mostly stay within the speed limit, and when the car behind me seems “in a hurry,” I find a suitable spot to pull over, turn on my parking lights, and politely ask them to go ahead and pass.
　Psychologically speaking, when driving, I want to take my time and enjoy the natural surroundings—after all, it’s a rare treat.
　Perhaps, as befits an older person, my sole motivation is simply “gratitude for the natural environment that has sustained me for so long.”
　So, my wife and I arrived at the hotel while enjoying a pleasant chat, only to realize I’d forgotten my Mac accessories—specifically, the external hard drive containing almost all my data (sob). Oh no.
　I don’t even have the data I’m currently working on. Hmm… The drive went smoothly, but the “signs of aging”—like forgetfulness—are steadily (lol) catching up with me.
　It’s a bit embarrassing to admit while traveling, but I won’t just “throw this away”; I’ll keep up with my “daily updates” and postpone the actual writing while I focus on preparation work. The plan is two nights and three days. Thank you for your support.
　

● Announcement
My book, “Writers and Living Spaces,” has been published as an e-book by Gentosha.
Available on Amazon.

Posted on 10月 13th, 2026 by 三木 奎吾
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　わが家近くの河原で毎日のようにサケの産卵・次世代への引継の神聖ないのちの絶唱をみつめていると、買い物で入手するさまざまな魚類のことが心理に深く「入ってくる」。
　先日も、産卵を終わったと思えるメスのサケが体力をすべて使い切って、水深のほとんどない河原で横たわっている様子を凝視していて、思わず「その最期は謹んで食す」のが、最善の「供養」と思えていました。さすがにそれは自重して自然のままに放置していました。そのような魚類のいのちの「いとなみ」を見ると、さらに鮮魚店で購入する魚類にも感情移入する。いや、思わさる（北海道弁）。
　写真はタコの口（くちばし）の周辺の筋肉の「タコとんび」と捌いたニシン。
　タコとんびはタコの中にある黒く硬いくちばし（あご）の形が、鳥の「トンビ」のくちばしに似ていることからこのように呼ばれるようになったもの。タコ1匹から1つしか取れないため、貴重な珍味とされる。カニの甲羅を砕くほどタコが日常的に使っている筋肉のため、非常にコリコリとした弾力があり、噛むほどに旨味が出てくるヤツ。余市の鮮魚店ではじめて購入して以来、ご近所の食品店でも目にして、ちょこちょこ、家庭料理メニューから途切れないように購入しています。わたしの場合は、塩ゆでして冷ませてから、黒い「くちばし」を手で外して身だけにしてほぼ１口大に切り分け、酢醤油などで味付けして食します。１日に食べるのはほんの２−３切れ程度ですが、楽しくて欠かせない一品。いつも購入している店舗では、非常にお手頃価格で、10コ程で300円程度と庶民的。
　一方は北海道の地サカナとも思えるニシン。ナマのニシンを捌くのですが、もうすっかり定番捌きになっていて、非常に楽しい。通常は３匹で300円程度。３枚におろして冷凍させておいて、焼いて食します。こちらもわたしはほんの少々、写真の１枚の1/5程度で十分。しかし、息子や嫁さんたちは、モリモリと１枚食べきったりする（笑）。若さは素晴らしい。
　焼き魚にすると、その独特の味わい、風味が北海道ネイティブなマインドを刺激してくれる。今回のヤツは超大型で４匹で800円。しかも１匹はメスで数の子入り。捌いているとそういう楽しみも満喫できる。
　高齢期のたのしみ、日々のサカナ捌きのご紹介でした。

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[Fun Ways to Prepare Octopus and Herring with a Knife and by Hand]
As I enter my golden years, working with a knife has become my “ultimate joy.” I’m deeply grateful to these fish—which brighten up my daily life at such an affordable price (laughs). …

　When I watch the salmon spawning near the riverbank close to my home—that sacred, final chorus of life as they pass the torch to the next generation—almost every day, the various kinds of fish I buy at the store really “sink in” deep within me.
　Just the other day, as I gazed intently at a female salmon—who appeared to have finished spawning—lying on the riverbank in water that was barely deep enough, having completely exhausted her strength, I couldn’t help but feel that “respectfully eating her at the end of her life” would be the best way to “honor her memory.” Of course, I refrained from doing so and left her to rest in peace. When I witness such “struggles” for life in fish, I find myself empathizing even more with the fish I buy at the fish market. Or rather, it makes me feel that way (in Hokkaido dialect).
The photo shows “takotobi”—the muscles around an octopus’s beak—and a filleted herring.
Takotobi got its name because the shape of the black, hard beak (jaw) inside the octopus resembles the beak of a “tonbi” (kite). Since only one can be extracted from each octopus, it’s considered a rare delicacy. Because it’s a muscle the octopus uses daily—even to crush crab shells—it has a very crunchy, springy texture, and the more you chew it, the more umami flavor comes out. Ever since I first bought it at a fish market in Yoichi, I’ve spotted it at neighborhood grocery stores too, so I buy it here and there to make sure it never goes missing from our home cooking menu. Personally, I boil them in salted water, let them cool, then remove the black “beak” by hand to separate the meat. I cut the meat into bite-sized pieces and season it with soy sauce and vinegar before eating. I only eat about two or three pieces a day, but it’s a delightful and indispensable dish. At the shop where I usually buy them, they’re very affordable—about 300 yen for 10 pieces—making them a true everyday treat.
　On the other hand, there’s herring, which I consider a true Hokkaido local fish. I fillet raw herring, and it’s become such a routine task that I really enjoy it. Usually, three fish cost about 300 yen. I fillet them into three pieces, freeze them, and then grill them to eat. I only need a tiny bit of this—about one-fifth of the fillet shown in the photo is plenty for me. However, my son and daughter-in-law wolf down an entire fillet (laughs). Youth is wonderful.
　When grilled, its unique taste and aroma really appeal to the Hokkaido soul. The ones I got this time were extra-large—four for 800 yen. What’s more, one was a female with roe. Preparing them lets me fully enjoy that kind of little pleasure, too.
That was my introduction to the joys of old age: preparing fish every day.

● Announcement
My book, “Writers and Living Spaces,” has been published as an e-book by Gentosha.
Available on Amazon.
　
　

Posted on 10月 11th, 2026 by 三木 奎吾
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　わたしはいま、家系史での江戸期〜明治以降に生きた祖先の「生き様」を追っています。
　知れば知るほど波瀾万丈、時代の「うねり」に翻弄されながら必死に生きてきた実相が明滅してくる。その時空間旅を継続中。その活動では「法務局」などでの不動産の推移確認が重要な根拠事実を提供してくれる。写真は、札幌の法務局への道筋、地下鉄札幌駅を下り繁華なJR札幌駅南口側から「北口」側の法務局まで広大な「地下空間」。建築的にもオモシロい現代都市の地下に出現した異空間。
　ちょうど住宅建築関係でながく関わった「新住協」全国大会が札幌で開かれていた日程だったのですが、こうした調査活動に没頭していて、うっかり失念。ふっと気付いて「あれま」と思ったのですが、まぁ後の祭り。昨日、上階に事務所同居しているReplan発行元の札促社スタッフに様子を尋ねたら「あ、鎌田先生から三木さんどうしてる？元気？」と声掛けされたとの報告。「あ、やべ」でありますが、まぁ仕方ない。
　事業譲渡した人間は、あまり騒音にならないように静かにしているべきと考えます。
　で、前述のそうした調査活動の甲斐があって、江戸後期から明治期までのわが家系の「住所地」が特定できた。わたしは「住空間」にこだわって生きてきた人間なので、空間認識を特定できると、いわば脳味噌がスッキリとしてくる実感があるのです。空間が特定されると、そこで生きた人間のありようが俄然「カラー化」してくる。
　そして現代の利器・GoogleMapを利用すると、その特定された住所地の「現在の画像情報」が瞬時に得られてくる。それをモニター画面で見ながら、想念を巡らすことができる。
　その周辺にはなんどか足を運んでいるので「土地勘」は実装されている。「あ、ここだったのか」という静かな落着感が心理に充満してくるのですね。
　まぁここまで至るには、明治最初期の戸籍謄本に記載された「番屋敷」住所表示の歴史的変遷という巨大な壁が存在していました。日本の近代化システムが最初、試行錯誤を経験したあと、現代のような整合的記録環境が成立してきたのですね。さらに、現行システムからしか「過去の実相を遡る」ことができない。逆はまことに至難なのですね。大きな進展にワクワク。導いてくれた動線上の「天井」オモシロ（笑）。

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English version⬇

[A “Labyrinth” Appears in the Underground During My Journey of Exploration into the Past (lol)]
The area around Sapporo Station is just too interesting, with the bustling downtown to the south and that “hollow” feeling to the north (lol). This mysterious urban environment served as a guide to unearthing the past (lol)…

　I am currently tracing the “lives” of my ancestors who lived from the Edo period through the Meiji era and beyond, as recorded in my family history.
The more I learn, the more the reality of their lives—filled with dramatic ups and downs as they struggled desperately while being tossed about by the “tides” of their times—begins to emerge. I am continuing this journey through time and space. In this endeavor, verifying changes in real estate ownership at places like the “Legal Affairs Bureau” provides crucial factual evidence. The photo shows the route to the Sapporo Legal Affairs Bureau—a vast “underground space” stretching from the bustling south exit of JR Sapporo Station, where the subway’s Sapporo Station is located, all the way to the Legal Affairs Bureau on the “north exit” side. It’s an intriguing, otherworldly space that has emerged beneath this modern city, architecturally fascinating in its own right.
　It just so happened that the national convention of the “New Housing Association” (Shinjukyo)—an organization I’ve been involved with for a long time in the residential construction sector—was being held in Sapporo during that time, but I was so engrossed in this research that I completely forgot about it. When I suddenly realized it, I thought, “Oh no,” but it was too late. Yesterday, when I asked a staff member from Sapporo Soku-sha—the publisher of *Replan*, whose office shares the floor with mine—how things were going, they reported that someone had asked them, “Oh, has Professor Kamata asked how Mr. Miki is doing? Is he doing well?” “Oh, crap,” I thought, but oh well, it can’t be helped.
　I believe that someone who has transferred their business should keep a low profile to avoid causing a fuss.
　Anyway, thanks to the research activities I mentioned earlier, I was able to pinpoint the “residential addresses” of my family lineage from the late Edo period through the Meiji era. Since I’m someone who has lived my life with a strong focus on “living spaces,” I actually feel a sense of clarity in my mind when I can pinpoint a specific location. Once a space is identified, the lives of the people who lived there suddenly come to life in vivid color.
　And by using the modern tool Google Maps, I can instantly access “current imagery” of those identified addresses. I can let my thoughts wander while viewing them on the monitor screen.
　Since I’ve visited the surrounding area several times, I’ve developed a “sense of the terrain.” A quiet sense of resolution—“Ah, so this is where it was”—fills my mind.
　Well, to get to this point, there was a massive hurdle: the historical evolution of “ban-yashiki” address notation found in family register transcripts from the very early Meiji period. After Japan’s modernization system initially went through a period of trial and error, a coherent record-keeping system like the one we have today was finally established. Furthermore, we can only “trace back to the reality of the past” from the current system; doing the reverse is truly extremely difficult. I’m thrilled by this major breakthrough. The “ceiling” along the path that led me here is quite interesting (lol).

● Announcement
My book, *Writers and Living Spaces*, has been published as an e-book by Gentosha.
Available on Amazon.

Posted on 10月 9th, 2026 by 三木 奎吾
Filed under: 未分類 | No Comments »

　先日は友人の「いけ花」を参観してきましたが、本日は絵画であります。
　昨日は久しぶりの散歩コースで北海道神宮参拝のコースへ。北海道神宮はその創始からまだ150年ほどで明治国家の北海道開拓の神域として造成された地域。隣接する「円山公園」はアメリカから開拓期に教師役として採用されていた「御雇い外国人」たちが都市計画でも主導して、原始に近い自然をそのままに保持する考えで公園が維持されている。北大構内も原始の札幌の「土地の雰囲気・空気感」を保持していますが、神宮の神域も、自然な調和を見せてくれている。
　で、参拝したあと、神殿の左側に子どもたちの絵が飾られている光景が目に飛び込んできた。
　みると「第56回 北海道神宮写生大会作品展」と題されていた。そこでいちばん最初に煌々と展示されていたのが、この作品。雨除けにビニールが上履きされているので、若干見栄えは残念感があったけれど、この「特選」とみなせる作品は、拝殿の様子を描いた作品。
　堂々たる重量感がみるものに訴えかけてくるあっぱれな絵。「神社」という建築へのある種のリスペクトが画筆に感じられ、小学４年生の少年の率直な受け止めが見る者に、ストンと落ちてきていた。
　なんといっても屋根の重量感が圧倒的に少年のこころを捉え、その心情がストレートに伝わってくる。
　う〜む、たしかに力感があって素晴らしいね、であります。
　・・・遠い日、いまから67年前、小学校２年生だったわたしは、札幌とアメリカ・ポートランド市の姉妹都市提携を記念しての「児童画交換のためのコンクール」に、担任の美術が専門の先生から情報を受けて、一生懸命に「相撲の立会い」の絵を一心不乱に描いていた。テレビがわが家にやってきて、NHKの相撲中継に見入っていて、その立会いの一瞬の「呼吸感」が描きたかったのです。
　人間の念の入ったあの瞬間の力感を、なんとか描きたいと思っていた。それとテーマ性としてアメリカの子どもたちに相撲という日本らしい「体文化」が最適と考えていた。
　そして選ばれて、その絵は彼の地に送られた。
　この神社の絵を見ていて、そういう記憶がフラッシュバックしていた。
　どうも同じような「重量感」を表現したかったのではないかと。まぁ、勝手な個人としての感想。

●お知らせ
拙書「作家と住空間」幻冬舎から電子書籍で発刊
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English version⬇

[Gazing at the Award-Winning Entries from the Hokkaido Jingu Children’s Sketching Contest]
I’m transported back to when I entered a contest myself as a boy—67 long years ago. I find solace in the solid, weighty quality that defines the theme. …

　The other day, I went to see a friend’s “ikebana” exhibition, but today’s topic is painting.
Yesterday, I took a walk along a route I hadn’t taken in a while—the path leading to Hokkaido Jingu Shrine. Hokkaido Jingu was established only about 150 years ago and was developed as a sacred site for the Meiji government’s colonization of Hokkaido. The adjacent “Maruyama Park” was maintained under the guidance of “foreign consultants” hired from the United States during the settlement period to serve as teachers; they also played a leading role in urban planning, and the park is preserved with the philosophy of maintaining its near-pristine natural state. While the Hokkaido University campus also retains the “atmosphere and spirit” of early Sapporo, the sacred precincts of the shrine also exhibit a natural harmony.
　After paying my respects, my eyes were immediately drawn to a display of children’s drawings on the left side of the main hall.
Upon closer inspection, I saw it was titled “The 56th Hokkaido Jingu Sketching Contest Exhibition.” The very first piece on display, shining brightly, was this work. Although the plastic sheeting used to protect it from the rain slightly detracted from its appearance, this piece—which could be considered a “Special Selection”—depicted the worship hall.
　It’s a magnificent painting whose imposing, weighty presence speaks directly to the viewer. You can sense a certain respect for the architecture of the “shrine” in the brushstrokes, and the fourth-grader’s candid perspective really resonated with me.
Above all, the sheer weight of the roof overwhelmingly captured the boy’s imagination, and his emotions come across directly.
Hmm, it certainly has a powerful presence—it’s truly wonderful.
　…Long ago, 67 years ago now, when I was in second grade, I received information from my homeroom teacher—who specialized in art—about a “Children’s Art Exchange Contest” held to commemorate the sister-city partnership between Sapporo and Portland, Oregon. I worked tirelessly, single-mindedly drawing a picture of a “sumo face-off.” A television had just arrived at our home, and I was captivated by NHK’s sumo broadcasts; I wanted to capture the “sense of rhythm” in that split second of the initial clash.
　I was determined to somehow depict the power of that moment, infused with human intensity. I also thought sumo—a quintessentially Japanese “physical culture”—would be the perfect theme to introduce to American children.
　My painting was selected and sent overseas.
　Looking at this painting of the shrine, those memories came flooding back.
It seems I must have wanted to express a similar “sense of weight.” Well, that’s just my own personal impression.

● Announcement
My book, *Writers and Living Spaces*, has been published as an e-book by Gentosha.
Available on Amazon.

Posted on 10月 7th, 2026 by 三木 奎吾
Filed under: 未分類 | No Comments »

　昨日の記事の続篇。もちろんわたしは「いけ花」には門外漢であります。
　しかし、いわゆる「受け手」としては、その受け取った「感覚」について表現することは自由でしょう。その表現者の方から親しくお話しを伺ったことをも踏まえて、率直な心象を書くことをお許し願いたい。
　上の写真が、同期女子が生けた作品。彼女は「池坊」の流儀に踏まえた作品作りをされている。詳細にその素材についての解説も聞くことが出来て、非常に惹かれてしまっていた。とくにわたしは、作品のなかで「背景」的な位置に生けられた「樹皮」の黒々とした表情が、他の素材に対して、いわば「黒子」のように「主張しない」表現パワーを持っていたと感じさせられた。
　この素材が、いわば画竜点睛的な存在なのかと勝手な「理解」。そう見てくると、他の枝振り、葉の繊細さ、切り取られ、それでもなお生命を見せる花の『切なさ』が浮き立ってくるように思われたのですね。
　日本の植物の各パーツが全体として奏でる、音ではない「交響楽」のように受け止めた。一方・・・

　こちらは「草月流」の１作品。
　この作品では、まことに「前衛的」と思えるような構成の迫力を感じさせられる。わたしは花の名前についてはまったく無知蒙昧なのですが、花火のような爆発的な花実の放射円の力感が目を驚かしてくる。そして背景としての「葉」の色味には、非生物的な化学素材材料までもが使われている。自然ではないものまでも躊躇なく「生ける」姿勢に驚かされていた。花器もまた、モダンアートのような感覚で見る者に迫ってくる。
　・・・このような「違い」が煌々と表現されて訴えかけてくる。
　絵画で言えば、日本画とピカソ的な表現が同居しているような世界。
　しかし、あくまでも「いけ」られた花・植物が主役である。こういう表現の領域があるのだなぁと実感。
　そういった感想の発展形で、ではこれらのような表現作品が日本建築の清華の場としての「床の間」で、どのように人間と「対話」するのだろうと、思いが募っていった次第。いや、必ずしも床の間だけではなく、現代住宅建築の中で、もっとも「似合う」空間はさて？　というように思考が遊ばされたのです。ふ〜む。
　住空間との相関関係として、オモシロい領域に気付かされた次第。さて・・・。

●お知らせ
拙書「作家と住空間」幻冬舎から電子書籍で発刊
お求めはAmazonで。
https://amzn.asia/d/eUiv9yO

English version⬇

[Ikenobo, Sogetsu… The World of “Ikebana” Expression]
As someone whose passion lies in appreciating art and painting, this was, so to speak, my first encounter with the expressive world of “ikebana.” Inspired by the splendor of this guidance, my imagination begins to stir…

　This is a follow-up to yesterday’s post. Of course, I am a complete novice when it comes to “ikebana.”
　However, as a so-called “viewer,” I should be free to express the “sensations” I experienced. Based in part on a friendly conversation I had with the artist herself, I hope you’ll allow me to share my candid impressions.
　The photo above shows a piece arranged by a female classmate of mine. She creates her works based on the “Ikenobo” school of ikebana. I was able to hear a detailed explanation of the materials used, which captivated me deeply. In particular, I felt that the deep, dark texture of the “bark”—arranged in a “background” position within the piece—possessed an expressive power that, compared to the other materials, was unobtrusive, acting as a sort of “behind-the-scenes” element.
　I came to my own “understanding” that this material served as the finishing touch, so to speak. When viewed in this light, the branching patterns, the delicacy of the leaves, and the “poignancy” of the flowers—cut off yet still radiating life—seemed to stand out even more.
I perceived it as a “symphony”—not of sound, but of the various parts of Japanese plants harmonizing as a whole. On the other hand…

　This is a piece from the “Sogetsu School.”
　This work conveys a powerful impact through a composition that feels truly “avant-garde.” While I am completely ignorant when it comes to the names of flowers, the dynamic energy of the explosive, circular radiations of the flower buds—reminiscent of fireworks—is a striking sight. Furthermore, the colors of the “leaves” used as the background even incorporate non-organic, chemical materials. I was astonished by the artist’s willingness to “arrange” even non-natural elements without hesitation. The vase, too, makes a strong impression on the viewer, evoking a sense of modern art.
　…Such “differences” are vividly expressed and speak powerfully to the viewer.
　In terms of painting, it’s a world where traditional Japanese painting and Picasso-esque expression coexist.
　However, the arranged flowers and plants remain the undisputed protagonists. I truly realized that this is a legitimate realm of artistic expression.
　Building on that impression, my thoughts began to wander: How would such expressive works “engage in dialogue” with people within the “tokonoma”—that quintessential space of Japanese architecture? No, not necessarily just the tokonoma—I found myself wondering, “Which space in contemporary residential architecture would be the most ‘suitable’ for them?” My mind wandered in this way. Hmm.
　I’ve come to realize this is an intriguing area in terms of its relationship to living spaces. Well then…

● Announcement
My book, *Artists and Living Spaces*, has been published as an e-book by Gentosha.
Available on Amazon.

Posted on 10月 5th, 2026 by 三木 奎吾
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