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 »

実はこの淡路夢舞台への宿泊旅程はすべてカミさんの選定・手配。旅に出る前わたしは徳島の三木家住宅くらいしか希望は伝えていなかった。図らずも関空に到着しレンタカーで明石海峡を渡り現地に着くまで、初日の目的地が淡路夢舞台で安藤忠雄設計デザインの建築環境と正確には知らされてなかった（笑）。直前まで慌ただしかったので相談をする時間もなかったし、なんと言ってもカミさんが喜んでくれることが一番。わたしはその付き添い認識。現地に近づくにつれ情報を知るに至り「へぇ〜そう」と興味を持ち始めたお恥ずかしい展開。
そういえば数年前に訪れた直島・地中美術館もカミさんに引き立てられて参観したので、案外な〜んも考えずにシンプルに建築環境体験を楽しんでいた。
朝早くから札幌を発って長距離運転していたのでホテルに入り夜はすっかり早寝爆睡。カミさんは「もったいない」とばかりに夜の「夢舞台」を歩きまわってきていた。「いやぁ、いいわ〜」とキラキラ状態。わたしは朝はとにかく早いのでざっと周辺を探索後、朝食後の散歩としてあちこち歩きまわった。写真1枚目の「百段苑」〜世界中の花々をコンクリート区画で分散植栽〜についても、現地で予備知識なく見学しておりました。自分の目や体で感じることでストレートに建築空間と対話できる。この夢舞台の空間が建築であるのか、概念規定が難しい。一種、ギリシャやイタリアの古代都市空間とも通底するような空間性が感じられる。20世紀的な建築手段としてのコンクリート打ち放しで風景を縦横に切り取っている感は強く感じられる。


予備知識や情報などほとんどない状態。安藤さんと言えば断熱に至って無頓着で「生きることは耐えることだ」的な都市ゲリラまんまみたいな刷り込みなしに（笑）、単純に身体感覚的に安藤建築と向き合っておりました。
あ、ホテルとの通路空間には「冬の夜」の童謡旋律が低く流れみごとに調和。音楽も動員する空間体験。いまでもその旋律と風景感が一体で記憶に刷り込まれている。先方の完全作戦勝ちですね。やられた（笑）。

English version⬇

Tadao Ando, Fusion of Architecture and Scenery, Awaji Yumebutai – 3
I was surprised to learn that it was Ando’s architecture when I arrived and saw it (laugh). The rapid-fire barrage of vertical and horizontal concrete spaces that thoroughly exploit the gaps between them. The first time I saw it, I knew it was Ando’s architecture (laughs).

In fact, the entire lodging itinerary for this trip to Awaji Yumebutai was selected and arranged by my wife. Before embarking on this trip, I had only expressed my wish to stay at the Miki Family Residence in Tokushima. Until we arrived at Kansai International Airport and crossed the Akashi Strait in a rented car, I was unaware that our destination for the first day was Awaji Yumebutai, an architectural environment designed by Tadao Ando (laugh). (Laughs.) Since I was in a hurry until the last minute, I did not have time to consult with my wife, and the most important thing was to make her happy. I was just the chaperone. As we got closer to the site, I learned more information and became interested in the island, which was an embarrassing development.
Come to think of it, my wife had led me to visit the Chichu Art Museum on Naoshima Island a few years ago, so I was enjoying the simple experience of the built environment without thinking much about it.
I left Sapporo early in the morning and drove a long distance, so I went to a hotel and slept early at night. My wife was so excited that she walked around the Yumebutai at night, saying, “What a waste of time! She was so excited that she said, “Oh my God, it’s so nice! I had an early start in the morning, so after a quick search of the area, I walked around after breakfast. I had no prior knowledge of the “Hyakudanen” (the first photo), which is a concrete plot with flowers from all over the world planted in a distributed manner. You can interact with the architectural space straight away by feeling it with your own eyes and body. It is difficult to define the concept of whether the space of this dream stage is architecture or not. The sense that the landscape is cut horizontally and vertically using concrete as a means of architecture in the 20th century is strongly felt.

I had almost no prior knowledge or information. I was facing Ando’s architecture with a simple physical sensation, without the imprint of the urban guerrilla-like “to live is to endure” style (laugh).
Oh, and the children’s song melody of “A Winter’s Night” played low in the passage between the hotel and the building, harmonizing perfectly with the space. It was a spatial experience that also mobilized music. Even now, the melody and the sense of scenery are imprinted in my memory as one. It was a complete tactical victory for the hotel. They got me (laughs).

Posted on 3月 1st, 2023 by 三木 奎吾
Filed under: こちら発行人です, 日本社会・文化研究 | No Comments »

関西新空港は1994年当時の関西経済復興の欠くべからざる人的交流・経済活性化の基盤公共事業と位置づけられていた。経済を考えれば中世の堺の港が果たしていた役割、それが日本の社会変革の中核であったことを顧みただけであきらかだろう。そのために必要な土砂・石材を海上交通で運搬させることを考えれば瀬戸内海地域の島からそれを供出するのがもっとも経済合理性が高い。
いまから30年前の状況では地域総体としてこのことを受容して淡路島はその身を削って関空を産み落としたのだと言える。写真は自然復元の構想図と、破壊された当時の現地の状況。同様の事態では跡地はほぼそのまま放置されたまま。たとえば札幌の都市開発でも市南部の「石切山」から用材が切り出された。経済利便性と自然破壊はトレードオフの関係であることは自明だと思う。
しかしこの1990年代の日本・関西では荒廃せざるを得なかった淡路島の自然環境に対して、それを環境復元する志向をもって対処した。そのように決定したのだけれど、しかし自然環境の復元ということは人類社会ではあまり経験知のないことでもあったのだ。近代以降の開発偏重の日本史で後の自然回復まで取り組んだ開発はほとんどなされてこなかった。札幌の石切山の放置は当たり前だったのだ。


そういうなかでカナダ・バンクーバー近郊のビクトリアに「プッチャートガーデン」という花と緑あふれる公園がある。ここは元はセメント工場として石灰岩を切り出す採掘場だった。荒廃し岩肌が剥き出しになっていたが、オーナーのプッチャート夫妻は自分たちで土を入れ、草木を植え始めた。20世紀初めから始められ20世紀半ばになって現在の庭園の主要部分ができあがったのだとされる。
バブルの余波で一時は民間でゴルフ場リゾート計画も持ち上がった淡路夢舞台の敷地にこのプッチャートガーデンを参考に国と兵庫県の主導で、失われた自然環境の回復という「夢舞台」が展開されていった。土木建築的リフォームに想像力が傾けられたといえる。設計者として安藤忠雄氏が全体計画をまとめ上げていくことになる。

English version⬇

Can Human Society Restore the Lost Nature? Awaji Yumebutai-2]
A large-scale international airport is absolute social capital for the development of the Kansai economy. Awaji Island “cut itself down” by land reclamation and gave birth to the Kansai International Airport. …

In 1994, the new Kansai Airport was positioned as a fundamental public works project for human exchange and economic revitalization, an indispensable element of the economic recovery of the Kansai region. It is clear from the economic perspective that the port of Sakai in the Middle Ages played a central role in Japan’s social transformation. The most economically rational way to transport the earth, sand, and stones necessary for this was to use marine transportation to supply them from the islands of the Seto Inland Sea region.
It can be said that 30 years ago, the Awaji Island accepted this situation as a whole region, and it was the island of Awaji that gave birth to the Kansai International Airport at the expense of its own people. The photo shows a conceptual plan for natural restoration and the situation of the site at the time of the destruction. In similar situations, the site has been left almost untouched. For example, in the urban development of Sapporo, lumber was quarried from “Ishikiriyama” in the southern part of the city. It is obvious that there is a trade-off between economic convenience and destruction of nature.
However, in the 1990s, Japan and Kansai dealt with the natural environment of Awaji Island, which had to be devastated, with the intention of restoring the environment. Although they made such a decision, however, the restoration of the natural environment was something that human society had little experience with. In the development-oriented history of Japan since the modern era, there has been very little development that has addressed the restoration of the natural environment. The neglect of Ishikiriyama in Sapporo was a common occurrence.

Among these, there is a park full of flowers and greenery called “Putchart Gardens” in Victoria, near Vancouver, Canada. The site used to be a limestone quarry for a cement factory. The owner, Mr. and Mrs. Putchart, began to plant trees and plants by themselves, and it is said that the main part of the present garden was created in the mid-20th century.
In the aftermath of the bubble economy, a private golf course resort project was proposed at one time on the Awaji Yumebutai site, but the national government and Hyogo Prefecture took the lead in developing a “dream stage” to restore the lost natural environment, based on this Putchart Garden. It can be said that the imagination was focused on civil-architectural remodeling. Tadao Ando, the architect of the project, was responsible for the overall plan.

Posted on 2月 27th, 2023 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »