みなさんは飛行機に乗るときに窓側ー通路側のどっちをより選択されますか？
わたしの場合は、ひたすら行動自由度の高さで「通路側」一択でここしばらくの人生を過ごしてきています。窓の外の光景を目に焼き付ける、というのは、50年以上前の頃、飛行機に乗りたての頃にだいたい「見た！」という感覚が得られたので、以降はひたすら、乗降時、飛行中の「自由度の高さ」が主になり、一刻も早く機内での不自由さから解放されたい一心で通路側だった。
知らず知らずにビジネス人生として機能性一択になっていた心理だったのでしょうか（笑）。
それが今回たまたま、座席選択を失念していたら、人生で久しぶりの窓側席。「ありゃ、どうしよう。手荷物のパソコンでの若干の作業もあるから・・・そうか、足下に入れちゃえばいいや」という気分のスイッチが起動して、事前にしっかり便意を納めさせてから（笑）、折からの好天の中、関西から北海道までの窓外の景観を楽しんでおりました。
仕事人生の転換期でもあるので、久しぶりの窓外景観チェック。そうしたら、関空を離陸後、「おお関空と神戸って、意外と近いんだ」「大阪って埋め立て地ばっか、だなぁ」などとノー天気に頭カラッポ状態での受動的心理状態（笑）。
いちばん上の写真は碁盤の目状の都市割りが明瞭な京都の上空写真。やや右上の緑地は京都御所と見受けられました。「こういう整然とした街割りの都が千年の都だったんだ。やはり日本人の勤勉な性格って、こういうのが影響したのかなぁ」などの妄想状態。

としている間に、チョー眠気が襲ってきてしばし、恍惚のひとに・・・。で、気付いたら窓下には独立火山地形頂上部がまざまざと観望された。山頂部には冠雪が見られ、山頂に近いところから木々は紅葉が進み、ふもと部分まで紅葉から緑までのグラデーションが目に飛び込んでくる。
「これは寝ている内に一気に津軽・岩木山まで来てしまったか」
ボーッとしている内にかなりの観望ポイントを通過してしまったことを思い知らされる。「こっから先は気を確かに持って・・・」と決意を固めた。

機体はあっという間に津軽海峡を一渡りしてしまって、今度は函館の上空空撮へ。函館山という自然地形がいかに港湾として優れていたか、ふたたび学ばせていただく思いであります。北海道内の都市として函館は自分のなかではかなり大きな存在であり愛している街。その美貌を再度確認させていただいたような、景観に心打たれておりました。

そして目的地、新千歳空港に着陸寸前。常緑樹の林と圧倒的な広葉樹のコントラストが、「おお、よく帰ってきたな」と迎えてくれる。関西での空気感から自分の「ホーム」が再起動し始める瞬間であります。加齢してくると、こういう「無常感」がどんどん増してくる気がします。
この瞬間から、地元でのビジネス時間、再起動であります。やるぞっと。

English version⬇

Aerial sketch of a flight from Kansai to Chitose in fine autumn weather.
By chance, I was transferred from my usual aisle seat to a window seat. I felt the blessings of the autumn weather as the aerial view unfolded outside the window. For a moment, I was forced to change my line of sight to the macroscopic view. Aerial view

When you fly, do you prefer the window side or the aisle side?
In my case, I have been choosing the aisle side for a while now because of the freedom of movement. I have been choosing the aisle side for some time now because of the freedom of movement. and since then, it has been mainly “freedom” when boarding and exiting the plane and during the flight, and it was the aisle side with the single-minded desire to be free from the inconvenience of the in-flight as soon as possible.
Was it the psychology of having unknowingly chosen functionality as my business life (laugh)?
(Laughs) But this time, by chance, I forgot to select my seat, and for the first time in a long time in my life, I was seated on the window side. What am I going to do? I had to do some work on the computer in my hand baggage, so…well, I could just put it under my feet.” This activated a switch in my mood, and after having my bowel movements firmly contained beforehand (laugh), I was enjoying the scenery outside the window from Kansai to Hokkaido under the fine weather.
It was a turning point in my work life, so I checked the scenery outside the window for the first time in a while. After taking off from Kansai International Airport (KIX), I was in a passive state of mind, thinking “Oh, KIX and Kobe are surprisingly close” and “Osaka is full of reclaimed land, isn’t it?
The top photo is an aerial view of Kyoto, where the grid pattern of the city is clear. The green area slightly to the upper right appears to be the Kyoto Imperial Palace. I was surprised to see such an orderly layout of the city, which had been the capital for a thousand years. I wonder if the diligent nature of the Japanese people was influenced by such a city.

While I was trying to sleep, I felt sleepy and was in a trance for a while…. I noticed that the summit of the independent volcano could be seen clearly below the window. The summit was capped with snow, and the trees near the summit were turning red, and the gradation of colors from red to green was visible from the base of the mountain.
I wondered if I had reached Mount Tsugaru-Iwaki in one fell swoop while I was sleeping.
I realized that I had passed through a lot of viewing points while I was in a daze. I was determined to keep my eyes open from here on.

The aircraft quickly crossed the Tsugaru Straits, and we were now on our way to take aerial photos of Hakodate. Once again, I learned about the natural topography of Mt. Hakodate and how excellent it was as a port. Hakodate is a city in Hokkaido that I love and consider a major presence in my mind. I was struck by the scenery, which seemed to confirm its beauty once again.

And just before landing at our destination, New Chitose Airport. The contrast between the evergreen forest and the overwhelming broad-leaved trees greets me with a “Oh, you’ve come home so often. This is the moment when my “home” begins to reboot from the atmosphere in Kansai. I feel that as I age, this kind of “sense of impermanence” increases more and more.
From this moment on, I will restart my business time in my hometown. I’m going to do it.

Posted on 10月 25th, 2023 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

文学者の人生というのは、一定の個人情報ではあるけれど「私小説」というジャンルが成立しているように、そういう丸ごとを表現して読者と交感しているような側面があり、遺族などの同意を前提に公開されている情報なのでしょう。ただ、日本人の作家はそういう条件を同意して活動した結果、芥川龍之介とか、太宰治とか、自死を遂げる結果を迎えるひとが多い。有島もその轍を踏んだ。
しかしそれらの情報公開によって、そういう部分も含めて一般読者としては作品世界を感受することが出来るという意味では、味読の領域が拡大するものでしょう。さらに現代ではたくさんの非文章的な写真とか資料記録などが残っていくので、さらに消息を深く探究していくことができる。
上の写真はこの有島邸が完成し一家が入居した翌年の大正３年の正月の玄関先での様子。「ポチ」という作家らしからぬ一般普通名称を名付けられた（笑）愛犬が有島にじゃれついている。有島とイキモノとしてその心を交流させたに違いない愛犬の様子がなまなましく伝わってきて、ほっとさせられる。
西郷隆盛と愛犬のエピソードは日本人に広く伝わっているけれど、そのことが生前の人物像に血を通わせてくれる。そういうのが日本人はとくに好きなのかも知れない。いちばんアングル的にぴったりな外観写真と合わせてごらんください。また、この大正３年の正月の札幌市内の積雪状況もその空気感・リアリティが印象的に伝わってくる。


そして新居でうまれた子どもを抱擁しながらの人の親としての有島のワンショット。札幌を深く愛してこの地で大学教官としての職も得て、そして自らの「創造性」も投影させた注文住宅を建てて、いわば人生の幸せのピークを迎えていたといえるのでしょう。
下の年表は有島とその家族、そしてこの戸建て住宅がどのような数奇な運命をたどったのかを表現したものの一部。この家で有島家が正月を迎えられたのはたった１年に過ぎない。最愛の奥さんが新築２年目で病気を発症して以降のこの家の状況が記録されている。
きのうも触れたけれどこの当時の「住宅経済」の一端を推し量れる数字もある。大正10年（1921年）当時、坪数80坪近い大型住宅が5,000円で取引されている。昨日探究した金銭感覚の翻訳コンニャク（購買率平価基準として×1,080）を当てると現代平価では5,400,000円となる。土地は借地とであり建築本体価格だけということなので、これは一定のモノサシではあるのだろうか。築後７年であり、当時の土地感覚では「ジメジメした」とされる札幌駅北側の敷地条件なども勘案すると蓋然性は感じる。創成川開削などによる土地改良事業はまだ道半ばだった。
やはり表現の仕事をしてくれた先人の足跡からはいろいろな情報を受け取ることができる。後世の人間としては深く感謝するしかありませんね。

English version⬇

The Fate of the House, the People, and Life: The Former Residence of Takeo Arishima-8
The sheer joy of life, blessed with three children, took a dark turn. His beloved wife became ill and died too young. The house still tells us of Mr. Arishima’s thoughts and breath. The house still speaks of Mr. Arishima’s thoughts and breath.

The lives of literary figures are a certain amount of personal information, but just as the genre of “private novels” has been established, there is an aspect of expressing the entirety of a literary figure’s life and communicating it to readers, and this information is made public on the premise of consent from the bereaved family. However, many Japanese writers, such as Ryunosuke Akutagawa and Osamu Dazai, committed suicide as a result of having agreed to such conditions. Arishima followed in their footsteps.
However, the disclosure of such information will expand the realm of reading in the sense that the general reader will be able to perceive the world of the work, including such aspects of the work. In addition, today, there are many unwritten photographs and records of materials left behind, so it is possible to explore the history of the work even more deeply.
The photo above is a scene at the entrance of the Arishima residence on New Year’s Day in 1914, the year after the residence was completed and the family moved in. Pochi,” the dog that was given the common name of “Pochi,” which is not like the artist (laugh), is playing with Arishima. The dog, which must have communicated with Arishima as an animate being, is affectionate and relaxed.
The episode of Saigo Takamori and his beloved dog is widely known among Japanese people, and it brings blood to the image of the man before his death. Perhaps Japanese people are particularly fond of such things. Please take a look at the photo of the exterior of the building, which is the best angle of the building. The snowfall in Sapporo on New Year’s Day in 1914 also conveys the atmosphere and reality of the city.

And here is a shot of Arishima as a parent embracing his newborn child in his new home. He was deeply in love with Sapporo, had obtained a job as a university professor here, and had built a custom-built house that reflected his own “creativity,” so to speak, and was at the peak of happiness in his life.
The timeline below is part of the story of Arishima, his family, and the fate of this detached house. The Arishima family celebrated New Year’s in this house for only one year. The house’s condition is recorded after the beloved wife became ill in the second year after the house was built.
As I mentioned yesterday, there are some figures that give an idea of the “housing economy” at that time. In 1921, a large house with a floor space of nearly 80 tsubo (about 1,000 square meters) was priced at 5,000 yen. If we apply the monetary translation konnyaku (purchasing rate parity standard x 1,080) that we explored yesterday, the price would be 5,400,000 yen in modern parity. Since the land is leased and only the price of the building itself is used, I wonder if this is a certain measure. The property was built seven years ago, and the site conditions on the north side of Sapporo Station, which was considered “gloomy” according to the land sense of the time, are also taken into account. Land improvement projects, such as the Sosegawa River excavation, were still in their infancy.
After all, we can receive a variety of information from the footsteps of our predecessors who did the expressive work. As a person of the future generation, I can only be deeply grateful.

Posted on 10月 23rd, 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 »

先般の記事で有島武郎の大正２年新築の住宅について、地元新聞社がNEWS住宅として記事掲載していたという情報をお知らせしましたが、先日、その110年前の７月９日付けの紙面をスクリーンショットできた。
はるかな先人の住宅ルポなので可能な限り、現代文訳をこころみた。新聞社自体が消滅しているので、正確さについては、ご容赦願いたい。以下、記事の現代文再現。
●古い建築〜札幌區（く）内の家
札幌は北方の京都といわれるだけあって一体にゆったりしているのが解るが殊に道路の広々したところ、樹木の青々としたところ、山の佇まい、川のうねり、まことにその名にふさわしい趣がある。内地から来る者が東北地方の燻（くす）んだ町々を見て北海道に入るといかにも気がのびのびとする。殊に札幌は東京の流行がいちばん早く輸入されるところで、人の「風態〜なり」を見ても言葉を聞いてもまことに気持ちがいい。ちょうど中山道の濁った土地を通り抜けてズッと北方に中央帝都の面影を再現しているように思われる。
▲しかし茲（ここ）にひとつ目に付くものは札幌の建築である。これは内地のどこにも見得ないところの一種特別な所謂「札幌風」の建築である。あるいは米国の片田舎に見られるというかも知れんが如何はヤンキイ共でも都の真ん中にこういうスタイルの家は（？）てない。長い下見板を横に重ねて具合の悪い硝子窓を二つ三つ並べてある。明治の開拓使が米国植民地風の木小屋を真似て建てた当時の官宅の遺風を受け継ぎ今日に至ったのだろう。
・・・＜ちょっと疲れが襲ってきた（泣）以下、複写写真をごらんください・・・。＞

この後の文面には「民間でもこの頃、建ちかけている小田良治氏や有島武夫氏の住宅」と紹介されている。しっかりした設計がないままに未成熟な技術で建てられている状況に対して、警句を放っているというような文面。さすが新聞記者として社会批評的なスタンスで切りまくっている。ただ、対置しているまっとうな建築として「東京の技師に設計を頼んだもの」こそ正しいと言わんばかりの論にはいささか・・・。文章全体に東京を上位概念として、下々なるものとして地方を「見下す」ような報道姿勢を感じさせられて、どうも地元への愛を感じさせられない。地方人としての同胞感はないのかとやや悲しい。
「一体わが国現代の生活はなんでも和洋混合で行っているようだが、建築も住宅は純日本式とか和洋折衷とかに傾き、商会（商業建築）や事務所や官衙は純西洋風になっていくようだ。」というのが結論のよう。
どうも建築に寄り添っているというよりも、建築に寄せて北海道政治への批判を狙っているような文章の流れを感じさせられる。住宅の和洋折衷化はごく自然の流れだったと思われるなかで、この論者の「よき住宅観」はどうも明確には見えてこない。わたし的には一部同意、そのほかはちょっと不同意という記事でした（泣）。

English version⬇

Hokkaido residence article excavated in 1913 (!) Former Takeo Arishima Residence-6]
A rather unfortunate article that shows an intent to diss society, rather than a positive attitude of “building up local architecture together”. …

In a recent article, we reported that a local newspaper had published an article on the newly built house by Takeo Arishima in 1913 as a NEWS house, and we were able to take a screenshot of the July 9 edition, 110 years ago.
Since this is a report on the housing of a distant predecessor, we have tried to translate the article into modern Japanese as much as possible. The newspaper itself is no longer in existence, so please forgive me for any inaccuracies. The following is a modern translation of the article.
Old Architecture – House in Sapporo Dist.
Sapporo is called the “Kyoto of the North,” and it is known for its spaciousness, especially its wide roads, lush trees, mountain scenery, and undulating rivers. When people from Japan see the smoky towns of the Tohoku region and enter Hokkaido, they feel relaxed and at ease. Sapporo, in particular, is the earliest place to import Tokyo trends, and it is truly pleasant to see and hear people’s “style” and “mannerisms. It seems as if the city is recreating the image of the central imperial capital in the north, passing through the muddy land of Nakasendo.
The architecture of Sapporo, however, is one of the most striking features of the city, and it is unlike anything seen anywhere else in Japan. This is a kind of special so-called “Sapporo style” architecture that cannot be found anywhere else in Japan. You might say that it can be found in the rural areas of the U.S., but even the Yanks do not have houses of this style in the center of the capital. It is a bad idea to build a house with long clapboards piled up horizontally. It is made of long clapboards piled up horizontally and has two or three windows with bad glass. It is probably a legacy of the government houses built by the Meiji Kaitakushi (Hokkaido Development Office) in imitation of the wooden shacks of the American colonial style.
I am feeling a little tired (crying)…. ＞The following is a photocopy.
In the text that follows, it says, “The houses of Mr. Ryoji Oda and Mr. Takeo Arishima are being built in the private sector at this time as well. The text seems to be a warning against the situation where houses are being built with immature technology without a solid design. As one would expect from a newspaper journalist, he takes a socially critical stance in his piece. However, I was a bit concerned about the argument that “the building designed by Tokyo engineers” is the correct one as an honest architecture. The entire article gives the impression that Tokyo is a higher concept, and that the local people are “looked down upon” as inferior, which does not make me feel any love for the local people. It is a little sad to think that there is no sense of fellowship as a local person.
The conclusion of the report seems to be, “Modern life in our country seems to be a mixture of Japanese and Western styles, with houses leaning toward a purely Japanese style or a blend of Japanese and Western architecture, while commercial buildings, offices, and government offices are becoming purely Western. This seems to be the conclusion.
It seems that the author is aiming to criticize Hokkaido politics by leaning toward architecture rather than leaning toward architecture. The author’s “good view of housing” is not clear, as it seems that the blending of Japanese and Western styles of housing was a very natural trend. I agree with some parts of the article, and disagree with others (I cried).

Posted on 10月 21st, 2023 by 三木 奎吾
Filed under: 住宅取材＆ウラ話, 日本社会・文化研究 | No Comments »

芥川龍之介の九十九里での一時滞在の和風庵からの延長線的流れで、「作家の住まい」的な興味深化からこの有島武郎の札幌に残る住宅を分析してみることにしたのですが、掘り下げるほどに北海道の住宅進化の過程と驚くほどに重ね合わさって、作家の・・・という興味を超えて、北海道住宅のデザイン史の始原とも思えてきた。
わたしという人間は「北海道でメディア、それもリッチコンテンツなものを」という思いからもっとも北海道らしいテーマとして住宅という領域を選択したのですが、「おまえ、そういう選択をしたのだから、突き詰めてテーマを追求しろよ」とはるかな偉人・有島さんから叱咤されているように感じられる（笑）。
そういうように思えるというのは、たいへんシアワセなのではないかと思っております。
ということで本日は図面の中で不思議さを感じていた「サンポーチ」であります。110年前なのでいかに英語教授である有島武郎にしても、サンルームという現代的一般空間名称には認識が至らなかったのか、いやそうではなく、日本人的な感覚として「縁側」の西洋住宅類型としてむしろこういう語感がふさわしいと感じたのか，ナゾ。
写真ではイマイチ鮮明ではありませんが、この区域の窓だけは、ほかの居室の窓のように「上げ下げ窓」ではなく、引き違いの窓・建具が使用されている。ガラスも他の部屋ではデザイン造形された枠が施されているけれど、この区画だけはガラス素地になっている。この110年前としてはかなり「大判」のガラスが使われているので、より太陽光・日射取得型の意図を感じさせられる。いかにもより開放的な空間意図がそこに読み取れる。
しかし、開放感重視だけなら「掃き出し」で床までガラス戸であるべきなのに、窓の下には壁があってそうはしていない。やはり「寒冷地」を強く意識した中での開放感認識だったことがわかる。


で、このサンポーチは奥的な家族の空間、居間に隣接している。居間は畳敷きの和室。そしてサンポーチとの結界は引き違いの障子建具で仕切られている。やはり日本人の感覚としての居間と縁側・庭という感覚がベースにあったのだと知れる。サンポーチのガラス窓が大判ガラスで眺望重視であることとも合致する。
北海道では、いや現代日本では和室がリビングルームである住宅は、サザエさんの家くらいではないだろうか。
それくらい日本人は世界標準のライフスタイルとして「洋間」文化を受容してきたけれど、110年前の有島さんはこのあたり、かなり和洋折衷というテーマに立ち向かっているように思える。有島さんはこの家で１年半くらいを過ごしたのだけれど、和室の「こたつ」の中から降りしきるブリザードをこのサンポーチ越しに眺めていた。
きわめて感受性の強い有島武郎は、それまでの日本社会の「花鳥風月」をはるかに超える過酷な冬と、一転する乾燥した夏期を体感しながら、どんなふうに「拡張した花鳥風月」を感受していたのだろうか。日本人の感受性と北方の新開地・札幌の自然がどんな色模様を描いたのか、興味がいっそう深まる。

English version⬇

Western-style transformation of the porch “sun porch” Former Takeo Arishima’s residence-4
The Japanese people have an attachment to nature and have developed a sense of “kacho-fu-getsu” (flowers, birds, winds, and the moon). How did the Japanese transform their “Kacho-fu-getsu” sensibility by experiencing the cold and dry northern climate, which is far removed from the warm and humid climate of Japan? …

I decided to analyze Takeo Arishima’s residences in Sapporo as an extension of Ryunosuke Akutagawa’s temporary Japanese-style house in Kujukuri, because I was interested in the “residences of writers”. I began to think of it as the beginning of the history of housing design in Hokkaido.
I, as a human being, chose the domain of housing as the most Hokkaido-like theme from the desire to “create media in Hokkaido, and rich content at that,” but I feel as if I am being scolded by the great Mr. Arishima, who has gone far beyond Hokkaido, saying “Since you made such a choice, you should pursue the theme to the end” (laugh). You made that choice, so pursue the theme to the end” (laughs).
(Laughs.) No, I think it is a great blessing to be able to think that way.
Today, I would like to show you a “sun porch” that I have been wondering about in the drawings. 110 years ago, I wonder if Takeo Arishima, an English professor, was not aware of the general term “sunroom,” or if he felt it was more appropriate as a Western house type of “en-garashi” (porch) in the Japanese sense. Or perhaps he felt that this kind of word was more appropriate as a Western house type of “en-gawa” (porch), which is a Japanese concept.
Although the picture is not very clear, the windows in this area are not “raised windows” like the windows in the other rooms, but sliding windows and fittings are used in this room. The glass in the other rooms has a design shaped frame, but only this section is made of bare glass. The glass is quite “large” for this 110-year-old building, which gives the impression of an intention to obtain sunlight and solar radiation. The intention of a more open space can be read into the design.
However, there is a wall under the window, and if the emphasis is only on openness, it should be “swept out” with glass doors to the floor, but this is not the case. It is clear that the sense of openness was created with a strong awareness of the “cold climate” in mind.

This sun porch is adjacent to the back family space, the living room. The living room is a Japanese-style room with tatami mats. The sun porch is separated from the living room by a sliding shoji door. It is clear that the Japanese sense of a living room and porch was the base of the house. The large glass windows of the sun porch are also consistent with the emphasis on the view.
In Hokkaido, or perhaps in modern Japan, the only house in which the Japanese-style room is the living room is Sazae-san’s house.
Japanese people have accepted “Western-style” culture as the global standard lifestyle, but 110 years ago, Mr. Arishima seems to have been confronting the theme of blending Japanese and Western styles. Mr. Arishima spent about a year and a half in this house, and he used to watch the blizzard coming down from the kotatsu in the Japanese-style room through this sun porch.
I wonder how the extremely sensitive Takeo Arishima, experiencing the harsh winters and dry summers that far exceeded the “Kacho Fu Fugetsu” of Japanese society up to that time, perceived the “extended Kacho Fugetsu”. It will be interesting to see what kind of color patterns were created by the sensitivity of the Japanese people and the nature of Sapporo, a newly developed northern city.

Posted on 10月 19th, 2023 by 三木 奎吾
Filed under: 住宅マーケティング, 住宅性能・設備 | No Comments »

北海道らしい、あるいは札幌らしいという住宅建築の特徴っていくつかあるでしょうが、なんといっても洋風がそのまま日本の民家として根付いてしまったような部分がある。
外観的に特徴的なのは屋根形状。現代に至ると「無落雪屋根」、フラットな屋根という究極も出現するけれど、明治からの開拓期、特徴的だったのは、中折れ屋根といわれるギャンブレル屋根でしょう。よく言われる「マンサード屋根」は寄棟造りでの腰折屋根なのに対し、ギャンブレル屋根は切妻腰折屋根造りであることが大きく違う点とされています。
北海道大学での学生生活の後、有島武郎は４年間アメリカに留学し帰国後、母校の北大で英語を教える教官に赴任する。その渡米生活の間に、アメリカンの住宅デザインに深く傾倒したようです。たぶんその下敷きになったのは、学生として過ごしていた札幌での風景景観だっただろうと推測できる。北海道開拓使以来、寒冷対応のできない日本の伝統工法の限界認識から欧米的な住宅が志向されて、その巨大展示場と化していた札幌の街並み景観に刺激されて、アメリカ暮らしの間、住宅デザインに深く興味を抱いていたのでしょう。
作家でありながら住宅建築に強い興味を、それも寒冷対応の洋造建築に強く惹かれていた有島は、北海道の住宅史のなかでも、住まい手としてまた一歩進んでデザインを自ら形象化させた「注文住宅のオーナー兼構想者」として、きわめて重要でユニークな存在と言えるでしょう。
札幌の街並みを歩き続けた多感な学生・有島武郎の目に、1888年に建てられたアメリカ風ネオ・バロック様式の道庁赤煉瓦庁舎や、時計台建築などをシンボルとした建築群は強く影響した。この自邸のカラーリングには赤レンガの色彩が強く影響したと思われますね。



そんな有島が札幌市内に遺した痕跡、住にまつわるマッピングがこの旧邸には展示されていました。起点となった北海道大学の前身「札幌農学校」は現在の時計台周辺に一円展開していたとされる。小説「星座」では時計台の鐘の音色について、まことに音楽的な描写を書き記している。そうした描写自体が、明治以降の日本社会の中での札幌イメージを造形していったと思える。
北海道開拓の村に移築保存されているのは、「上白石町〜現・豊平区菊水」にあった住宅。新婚間もない有島に長男が誕生した家になる。漁師をしていた画家・木田金次郎の訪問を受けて小説「生まれ出ずる悩み」の舞台になったことで有名になったということなのでしょう。ただ、居住期間は１年半程度。その後、短期間に住居を点々と変えている。そして結婚から５年後に、有島の札幌での「住」イメージの結晶のようなこの新築住宅が完成していることになる。

English version⬇

The Waist Fold Gambrel Roof and the Sapporo “Residence” Footprints: Former Residence of Takeuro Arishima-2
Takeo Arishima left behind a highly sensitive residential design suitable for Sapporo. This roof must have been shocking in Japan at the time.

There are probably several characteristics of residential architecture that are typical of Hokkaido or Sapporo, but there are some areas where the Western style seems to have taken root as a Japanese private house as it is.
The roof shape is the most distinctive feature in terms of appearance. In the modern era, the “no-snowfall roof” or flat roof is the ultimate in this style, but in the pioneer period from the Meiji era (1868-1912), the characteristic roof shape was the gambrel roof, which is called a “mid-folded roof. The most common type of “mansard roof” is a hipped roof with a hipped gable, whereas the gambrel roof is a gabled hipped roof.
After his student days at Hokkaido University, Takeo Arishima studied in the U.S. for four years, returned to Japan, and was assigned to teach English at his alma mater, Hokkaido University. During his time in the U.S., he seems to have developed a deep commitment to American housing design. It can be assumed that perhaps the underlying inspiration was the landscape scenery in Sapporo, where he had spent time as a student. Since the Hokkaido Settlement, the recognition of the limitations of traditional Japanese construction methods that cannot cope with cold weather has led to an orientation toward Western-style housing, and the streetscape landscape of Sapporo, which had become a huge exhibition hall for such housing, probably inspired him to develop a deep interest in housing design during his life in the United States.
Arishima, who was a writer with a strong interest in residential architecture and a strong attraction to Western-style architecture for cold weather, is an extremely important and unique figure in the history of housing in Hokkaido as an “owner and visionary of custom-built houses” who, as a resident, went one step further and gave form to his own designs.
The red-brick Hokkaido Government Office Building, an American-style neo-Baroque building built in 1888, and the Clock Tower Building, among other symbolic structures, strongly influenced the eyes of the impressionable student Takeo Arishima, who continued to walk the streets of Sapporo. It is likely that the coloring of the red bricks had a strong influence on the coloring of this own residence.

The traces that Arishima left behind in the city of Sapporo and mapping related to his residence were displayed in this former residence. Sapporo Agricultural College, the predecessor of Hokkaido University, which was the starting point of the project, is said to have developed in a circle around the present clock tower. In his novel “Constellation,” he wrote a truly musical description of the sound of the clock tower’s bell. Such a description itself seems to have shaped the image of Sapporo in Japanese society after the Meiji period.
The house that has been relocated and preserved in the Hokkaido Kaitakushi no Mura (Hokkaido Development Village) was located in Kami Shiraishi-machi (now Kikusui, Toyohira-ku). It was the house where newlywed Arishima’s first son was born. It may be that the house became famous as the setting for the novel “Born of Trouble” after being visited by the painter Kinjiro Kida, who was a fisherman. However, the period of residence was only about a year and a half. After that, he changed his residence from place to place in a short period of time. And five years after his marriage, this new residence, which seems to be the crystallization of Arishima’s image of “residence” in Sapporo, would have been completed.

Posted on 10月 17th, 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 »