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【2200年前の家復元模型 ポンペイ・悲劇詩人の家-1】



さてふたたび2200年前のポンペイ遺跡・古民家探訪。
こちらの家は先日書いた「ファウヌスの家」のような大豪邸ではなく
ポンペイの普通「中の上」程度でしかも保存状態が良い住宅として知られる。
この復元模型はこの「悲劇詩人の家」をモデルにした後世の創作であって
実際の悲劇詩人の家とは間取りなど若干違うとされている。

わたし的には単純に「屋根はどうしていたのか」という疑問を持っていた。
ポンペイ遺跡住居は火山噴火堆積物に覆われたという事情もあって
掘り出された住宅からは石造の柱構造と床面だけが表れ
屋根面が発掘された形跡が見られないのです。
いくら日本の気候とは違って小雨気候とはいえ屋根の省略は考えられない。
ただ、日本の多雨気候は必然的に「木の住宅文化」を生んでくれたけれど、
小雨気候の他の多くの地域では石造住文化が主流。
ポンペイの家を見ても、柱や壁には煉瓦素材が積層されて
それを漆喰で固めての石造の構造材としている。
確かに石造で作った方が長期的耐久性はあっただろうけれど、
屋根だけは荷重を考えても、また造作技術を考えても
やはり木造の方がどう考えても合理的だと思われる。
そういう風に考えていて、この模型表現を確認した次第。
細部を確認するとやはり屋根構造は木造で造作しているように見える。
木造で骨組みを作って表面には瓦が葺かれている。
模型で見ると、屋根の一部には開口部があって天窓として機能している。
天窓に対応する室内は「アトリウム」のようで雨水を水盤が受けている。
小雨気候とは言え、豪雨など雨水処理のためには
排水の工夫もされていたに違いない。
２階も造作されているけれど１階に比較すると天井高は低く抑えられている。
当然２階床面も屋根構造同様、木組み構造が想定されている。
１階２階とも諸室出入りには木製ドアが組み込まれている。

こちらの写真は復元されている「悲劇詩人の家」の内観。
１階の様子になるのだけれど、天井高は非常に高くしつらえられている。
人口規模１万人ほどという街の「中の上」クラスの家とされるけれど、
どうも４ｍ以上はあったように見える。
そういう生活文化を自らの伝統と考える習慣を持っていたのでしょう。

小雨気候の場合、自然の造林活動は限定される。
そのうえバイオマス原料として煮炊き・暖房と木の需要は大きかっただろう。
住宅建築の主要資材が石造に向かうのはやはり自然なのだろう。
屋根やドアなど、必要欠くべからざる部位の材料として木は使われた。
東アジア世界も含めて世界は石造住文化が主流というなかで、
あらためて日本の木の住文化の特殊性に気付かされる。
木で柱梁を構成するというのは贅沢な住文化といえるのだろう。
そしてそういう木を扱う技能が森林地域・飛騨などで大発展したのでしょう。
金髪に憧れる日本人、黒髪に惹かれる西洋人ではないが、
西洋の住文化と日本の住文化、比較対照の面白さを感じます。

English version⬇

2200 year old house reconstruction model, House of the Tragic Poet, Pompeii -1
Although stone houses were used in the culture, wood was used only for roofs, doors, and other parts. Is Japan, one of the most forested countries in the world, at the forefront of wooden culture? …….

Once again, we are going to visit an old house in the ruins of Pompeii, 2,200 years ago.
This house is not a big mansion like the “House of the Faunus” that I wrote about the other day.
This house is not a big mansion like the “House of the Fauns” that I wrote about the other day, but it is close to an ordinary house in Pompeii, and it is well preserved.
This restored model is a creation modeled after the well-known “House of the Tragic Poet,” and is not the same as the actual House of the Tragic Poet.
It is said to be different from the actual House of the Tragic Poet.

I simply wondered what was done with the roof.
The roofs of the archaeological dwellings were covered by sediments from volcanic eruptions, so the roofs of the houses were not covered by volcanic eruptions.
The excavated houses revealed only the pillar structures and floor surfaces, and the roof surfaces were not excavated.
There seems to be no evidence that the roof surface has been excavated.
No matter how different from Japan’s climate, with its light rainfall climate, it is unthinkable that the roof would be omitted.
However, although Japan’s high-rainfall climate inevitably gave birth to the “wood housing culture,”
in many other regions with light rainfall climates, stone housing culture prevails.
The houses in Pompeii, for example, are made of brick, with pillars and walls made of laminated brick and plastered with stone.
The brickwork is then plastered to form the structural material of the stone structure.
Although the stone construction would have been more durable over the long term, the wooden roofs were more durable.
However, the wooden roof is more rational in terms of both load capacity and construction technique.
However, the wooden roofs would be more rational in terms of load capacity and construction technique.
I was thinking in this way when I checked this model.
It seems that the roof structure is made of wood.
The wooden framework is made of wood, and the surface is covered with roof tiles.
The model shows that part of the roof has an opening that functions as a skylight.
The room corresponding to that skylight looks like an “atrium,” with a water table receiving rainwater.
Even though the climate is one of light rainfall, heavy rainfall and other rainwater treatment
The drainage system must have been designed to deal with heavy rains.
The second floor is also constructed, but the ceiling height is lower than that of the first floor.
Naturally, the second floor also has a wooden structure similar to that of the roof.
Wooden doors are incorporated in the rooms on both the first and second floors.

This photo is an interior view of the restored “House of the Tragic Poet”.
This is a view of the first floor, and the ceiling height is very high.
It is said to be an “upper middle class” house in a town with a population of about 10,000.
It appears to have had a ceiling height of more than 4 meters.
They must have had a custom of considering such a lifestyle and culture as their own tradition.

In a climate with light rainfall, natural afforestation is limited.
In addition, there would have been a great demand for wood as a biomass material for cooking and heating.
It would still be natural for the main materials for residential construction to be masonry.
Wood was used as a material for roofs, doors, and other indispensable parts.
While the world, including East Asia, is dominated by a stone-built housing culture
I am reminded once again of the uniqueness of Japan’s wooden housing culture.
The use of wood to construct pillars and beams can be considered a luxurious housing culture.
And the skill to handle such wood must have been greatly developed in forested areas such as Hida.
Japanese are attracted to blond hair, while Westerners are not attracted to black hair.
I find it interesting to compare and contrast Western and Japanese housing cultures.

Posted on 5月 29th, 2022 by 三木 奎吾
Filed under: 住宅マーケティング, 歴史探訪 | No Comments »

【日本社会の深刻な後遺症「マスク外せない」症候群】


もう３年もの間、社会全体の異常な活動収縮が続いています。
移動抑制、行動抑制というこれまで人類が経験したことのない状況。
感染症なので「根絶」ということはあり得ないと思うのですが、
これまでのペストなどの感染症の世界的まん延と大きく相違しているのが
社会の側の受け止め方なのだと思います。
情報が一瞬にして世界で共有されるようになってから
そのことの「弱点」が露わになる初めての契機になっている。
人類全体としては世界的な情報共有が進んでいくことは
すばらしい発展だと信じて疑わなかったものが、
このような感染症の攻撃で実は「ウラ」の側面があることが見えてきた。

現在、公的なアナウンスとして
「マスクを外してもいいですよ」みたいな発信が行われてきている。
そのように情報発信していないけれど、実際には欧米と歩調を合わせて
コロナとの共存に転換することが目指されているのでしょう。
実際に行動抑制をこれ以上続けたら経済は破綻する。
中国共産党独裁国家ではいまだに「ゼロコロナ」政策が実行され
2632万人口都市・上海の都市封鎖という地獄のような光景が展開している。
知人で中国・上海で会社経営していま現在も現地にいる方がいますが、
断片的な情報から、都市封鎖の恐怖の実態が伝わってくる。
結果として税収落ち込みが半減レベルまで達したという中国経済情報。
そしてマクロな経済指標でもたとえば中国傾斜が顕著だった
Appleの四半期損失が１兆円レベルだという発表もあった。
非人間的な「都市封鎖」というゼロコロナ政策の怖ろしさ。
中国共産党としては最初期の武漢封鎖が過剰に成功体験化したのでしょう。
さてこういった状況の中で世界経済はどうなっていくか、
まことに胸突き八丁という局面だと思われるのです。
欧米を中心とする世界経済の中枢は明確に「ウィズコロナ」に転換した。
そういうなかで日本では「マスク」に焦点が当たっているともいえる。

一番上の写真はゴールデンウィーク中の道南・松前サクラ旅の様子ですが、
何年か後になったらお笑いポーズということになるのかどうか、
まだわからない。
高度情報化社会の日本にあっては極端に「同調」圧力が強い。
一時期の「自粛警察」ではないけれど
「あの人、マスクしていない・・・」という他者非難が社会の底流にある。
とくにマスメディアにどっぷりと情報管理されている
情報弱者層にそういう傾向が顕著なのではないかと思える。
「あんまりテレビ、見ない方がいいよ」と
同年配以上のみなさんにオススメすることが増えている。
真実を冷静に伝える本質的役割を遠く離れ、反権力という特定の方向に
民を引きずり回そうとする日本マスメディア接触による副反応。
日本社会はマスク強制同調圧力社会から離脱できるのだろうか？
おっと、そろそろ朝の散歩時間。
人目もあるしマスクして行かなくちゃ（泣・笑）・・・。

English version⬇

[A serious aftereffect of Japanese society’s “can’t take off the mask” syndrome.
Shanghai’s urban blockade hell. The obsession with zero corona is abnormal. The side reaction of the society by the mass media, whose criticisms are the business of the government. …

For three years now, there has been an extraordinary contraction of activity throughout society.
This is a situation that mankind has never experienced before: suppression of movement and suppression of behavior.
I don’t think there is any such thing as “eradication” because it is an infectious disease.
However, what is very different from the global spread of infectious diseases such as the plague is the way society perceives the disease.
I believe that society’s perception of the situation differs greatly from that of the global outbreak of infectious diseases such as the plague.
Since information has become instantly shared around the world, the “weak point” of this situation has been exposure.
This is the first time that the “weakness” of this has been exposed.
I believe that humanity as a whole is making progress in the global sharing of information.
what we never doubted to be a wonderful development.
However, the “ura” side of the situation is now coming to light with these attacks.

Currently, the official announcement is.
“You can take off your mask.
Although information is not being sent out that way, in reality, we are in step with Europe and the United States.
The goal is probably to switch to coexistence with coronas.
If they actually continue to suppress behavior any longer, their economy will collapse.
The “zero corona” policy is still being implemented in the Chinese Communist dictatorship and
The hellish scene of an urban blockade of Shanghai, a city of 26.32 million people, is still unfolding.
I have an acquaintance who runs a company in Shanghai, China, and is still there.
From the fragmentary information I have been able to obtain, the reality of the horror of the city blockade is conveyed.
The Chinese economic information shows that the resulting drop in tax revenues has reached the level of a half-century decline.
And even in macroeconomic indicators, for example, the China tilt was remarkable
For example, Apple’s quarterly loss was announced to be at the level of 1 trillion yen.
The horror of the zero-corona policy of inhuman “urban blockades.
For the CCP, the initial blockade of Wuhan must have been an overly successful experience.
What will happen to the world economy under these circumstances?
I believe that the world economy is in a situation where it is really at the edge of its seat.
The core of the world economy, centering on Europe and the United States, has clearly shifted to “with Corona.
In Japan, the focus is on “masks.

The photo is from a cherry blossom trip to Matsumae in southern Hokkaido during the Golden Week holidays.
Whether or not it will be called a comedy pose years from now
I don’t know yet.
In the highly information-oriented society of Japan, the pressure to be “in sync” is extremely strong.
It is not the “self-restraint police” of a time.
In Japan, the society is not the “self-restraint police” of the past, but rather, there is an underlying tendency to criticize others, saying, “That person is not wearing a mask….
This tendency is especially noticeable among those who are under the control of the mass media.
This tendency seems to be especially noticeable among the information-weak.
I recommend that people of the same age and older not watch TV too much.
I have been increasingly recommending to people of the same age and older that they should not watch TV too much.
The tendency to drag the public in a particular direction of anti-authority, far away from the essential role of calmly conveying the truth, is becoming more and more common among the older generation.
The Japanese mass media, far from its essential role of conveying the truth calmly, tends to drag the people in a particular direction of anti-authority, a side reaction.
Will Japanese society ever be able to break free from the mask of forced peer pressure?
Oops, it’s almost time for my morning walk.
I have to wear a mask to be seen by others (cries)….

Posted on 5月 28th, 2022 by 三木 奎吾
Filed under: 日本社会・文化研究, 状況・政治への発言 | No Comments »

【デザインの相違と目的の同一性 ポンペイ・ファウヌスの家-4】




きのうも触れたポンペイの最高級住宅の床面モザイク画という執着。
やはり日本では基壇などの「石の床」という生活文化が根付かず、
床上げして木での架構によって床面を造作することが特徴であることで
より軽快感のある床面への志向が発展したのではないか。
イマドキではそういった風習習慣は廃れつつあるとはいえ、
日本人には「畳返し」という生活習慣がある。
季節毎に畳の湿気を除去する生活の知恵であるのかも知れないし、
なにより足裏の素肌の感受性が発達して繊細な質感が好まれたのかも知れない。
シンプルなデザインで豊かな触感をもたらす畳床は
日本人のデザイン感覚に相当深く刻印されたものと思える。

一方でこちら西洋人マインドのルーツともいえる地中海世界ポンペイでは
「見る床」「鑑賞する床」という志向性が発達したように思える。
上の写真は「執務室」と名付けられたこの家のいわば「公的」空間の床。
ダイヤモンド形の色石をならべたオプス・セクティレの彩色モザイクで装飾され、
アポロ神殿やユピテル神殿の神室と同様、
斜めからみた立方体を並べた模様が描かれていたという。
２番目の写真はそのクローズアップ画面。
モザイクデザインに斜めの軸線を設定して、それを意図的にずらすことで
視覚的に「立体感」を生み出すように工夫されている。
床面デザインから来訪者に対して「この世のものとも思えない」空間性を
意識させるように意図していたと考えられる。
あるいは意識的に錯覚させることで面会機会それ自体が
一種異様な興奮を伴ったものとして演出していたとも受け取れる。
そして来訪者は３番目写真の「アレクサンドル大王」の床面画にさらに驚かされる。
たぶん民族の英雄譚として語られていた戦役について
それを活写する「まるでリアルな写真のような」画面に畏敬させられる。
やはり想像ではこういった床面画が施された空間は
ある種、神聖な体験を感受させることが目的であって
日本人の「床の間」にも相当するものだったように想像される。
神仏への宗教心に篤い日本人の場合、そういう宗教心の結果としての
精神世界の優位性を表現するのに書画を床の間に飾って
来訪者に対するコミュニケーション機会として活用したように
ポンペイの人々はこのような床面画空間を究極的接遇の場と考えたのではないか。
視覚的錯視まで活用し見させることがそのまま接遇の目的達成につながった。

人類というのは2200年程度の時間差では「考え方」そのものはほぼ同じだろう。
日本人も西洋人も、このような空間認識の進化過程を歩んできたと
イメージすることができるのではないだろうか。
そんなことを考えていたら来週、フィンランドの建築行政担当者のみなさんと
WEBでの交流機会がもたらされた（笑）。彼我の空間認識について
相互理解の一助になったらうれしい。

English version⬇

Differences in Design and Identity of Purpose: The House of the Fauns of Pompeii-4
If there is a commonality of human beings in spatial purpose, the “floor painting” in Pompeii might have been equivalent to the “tokonoma” in Japan. …

I mentioned yesterday my obsession with the floor mosaics of the finest houses in Pompeii.
In Japan, the “stone floor” of the basement is not rooted in the lifestyle culture, and the floor is raised to create a wooden structure to create a floor surface.
The floor is raised and the wooden structure is used to create the floor surface.
This may have led to the development of a preference for a floor surface with a lighter feel.
Although such customary practices are dying out in the modern age, Japanese people still have the habit of “turning back the tatami mats.
Japanese people have a custom called “Tatami-gaeri” (turning back the tatami mats).
This may be the wisdom of daily life to remove moisture from tatami mats every season, or it may be a way of life to keep the soles of tatami mats from becoming sensitive to the skin.
It may also be that the sensitivity of the skin under the soles of the feet has developed, and the delicate texture of tatami is favored by the Japanese.
Tatami mats, with their simple design and rich tactile sensation
Tatami flooring, with its simple design and rich tactile sensation, seems to have been deeply engraved in the Japanese sense of design.

On the other hand, in the Mediterranean world of Pompeii, which can be said to be the root of the Western mind
On the other hand, in the Mediterranean world of Pompeii, where the Western mind has its roots, the orientation of “floors to be seen” and “floors to be appreciated” seems to have developed.
The photo above shows the floor of the “public” space of the house, named the “office.
It is decorated with colored mosaics of opus sectile, which are diamond-shaped colored stones.
The floor is decorated with diamond-shaped colored stones in opus sectile mosaic, similar to the sacred chambers of the temples of Apollo and Jupiter.
The second photo is a close-up of the mosaic.
The second photo is a close-up view of the mosaic.
By setting oblique axes in the mosaic design and intentionally shifting them
The mosaic design is designed to create a “three-dimensional” impression visually by intentionally shifting them.
The floor design is thought to have been intended to make visitors aware of the “out-of-this-world” spatiality.
the floor design is thought to have been intended to make visitors aware of the “out-of-this-world” spatiality of the building.
Or, by consciously creating the illusion, the opportunity to meet with the visitor itself
or that the opportunity to meet with the visitor itself was staged with a kind of bizarre excitement by consciously creating the illusion of a visit.
The visitor is further surprised by the floor painting of “Alexander the Great” in the third photograph.
The battle, which was probably told as a heroic tale of the people, was vividly depicted as “as if it were real.
The “realistic photographic” depiction of the battle is awe-inspiring.
I imagine that a space with this kind of floor painting is a kind of sacred experience.
to evoke a kind of sacred experience.
It seems to be the equivalent of the Japanese “tokonoma” (alcove).
In the case of the Japanese, who are deeply religious toward the gods and Buddha
Japanese people, who were deeply religious toward the gods and Buddha, would display calligraphy and paintings in the tokonoma to express the supremacy of their spiritual world.
as an opportunity to communicate with visitors.
The people of Pohnpei may have considered such a space with floor paintings as the ultimate place of hospitality.
The use of even visual illusions to make people look at the paintings led directly to the achievement of the goal of hospitality.

The way of thinking of human beings is almost the same in a time difference of about 2,200 years.
I think it is possible to imagine that both Japanese and Westerners have gone through this kind of evolutionary process of spatial awareness.
I was thinking about this when I visited Finland next week.
While I was thinking about this, next week I will have an opportunity to communicate with Finnish architectural administrators via the web (smile).
I was thinking about this, and next week I will have a chance to communicate with Finnish architectural administrators on the web (laugh). I would be happy if it would help us to understand each other’s spatial perception.
I would be happy if it would help mutual understanding.

Posted on 5月 27th, 2022 by 三木 奎吾
Filed under: 住宅マーケティング, 歴史探訪 | No Comments »

【床面モザイク装飾「芸術」 ポンペイ・ファウヌスの家-3】


総面積900坪の大豪邸だけれど2200年前の住宅建築。
しかしハンパないレベルの格差社会・最上流層の邸宅ではある。
そういう社会の人々の「生き様・価値感」というのは
残された建築によってはるかに想像される。
現代とはまったく異質な価値尺度がそこから浮かび上がってくる。

現代日本人からすると、床面に過剰な装飾性を持たせるという心理は
なかなか共有しにくいものがある。
日本人は高温多湿な気候環境のなかで床面は地面から「上げて」
床下空間に「通気」させて湿気を除去する志向性が強い。
だから履物を脱いで「家に上がる」習慣が根付き、
その床面は足の裏という素肌で感受する対象であって
その最上級床面として畳という独自の住文化を育んできた。
現代ではそこから板敷きとの混淆という床面文化が主流になっている。
板敷きは階級格差なく日本人の床面のベースになっている。
いずれにせよ、土間からの結界性が住まいの床面への感覚。
この点でほかの東洋文化圏とも違いがあるし、
家の中でも靴を脱ぐ習慣のない西洋的文化圏とは隔絶している。
ポンペイ遺跡でのこの高級住宅では内部空間とおぼしき室内でも
床面は石の平面が基本になっているように思われる。
当然靴は履いたままで日常生活を送っていたのだろう。
そういう違いを感じる上に、さらにその床面をキャンパスと見立て
芸術的なモザイク画面としてフェッチしていた様子がわかるのだ。
上の写真は「アレクサンドロス大王のモザイク」。
この家の最上位空間と見なせる区画に典雅な床モザイク画としてあった。
・・・絵画と見まごう細かなモザイク表現は「オプス・ウェルミクラトゥム」という
緻密で繊細な技法で作られている。モルタルに下書きしそれに従って
一片数ミリの微細な自然素材の切石（テッセラ）をひとつひとつ埋め込んでいる。
この作品では1センチ四方で15-30のテッセラ使用で画面全体では数百万個。
自然素材の石材の色調を選別して絵画の「絵の具」として活用している。
ここまで微細な表現物なので専用の工房で製作されて現場に嵌め込まれた。
現代人としてはこういう美術作品に対してそれを床面に残置することに耐えられず
ナポリ国立考古学博物館に収蔵されたという。
当然、今回の東京国立博物館「ポンペイ展」でも
「壁面」に展示されていた。・・・
この「絵画」の画材テーマについてもさまざまに研究が進んでいるけれど、
2200年前の古代の英雄叙事詩がテーマとされている。
で、そういうものを「床面の装飾物」としていたのだ。



まぁ、その他の動物などのテーマ装飾であればまだしも
「あ、踏んじゃった、ごめんね」とでも笑えるような雰囲気だけれど
こうしたモザイク画面構成には芸術と職人仕事の歴史的重視が感じられる。
イタリアのタイル文化というものの歴史的奥行きを深く実感させられる。
こういう生活文化性はカーペット文化とも相通じるものだろうか。
また、このような作品を発注し多数の先端的職人技を動員させるだけの
社会階級格差の巨大さも深く刻印されている。
どうも吉野ヶ里の城内での竪穴住居に住んでいたとされる日本古代支配層とは
社会構造基盤として、かなり巨大な異質さを感じさせられる。
日本社会の方がはるかに「平等」だと感じるのはわたしだけだろうか。

English version⬇

Floor mosaic decoration “Art” House of Pompei Faunus-3
The sense to the floor surface which is different from the culture of wooden board and tatami matting. The cultural consciousness of life that composes the floor surface with the highest quality art works. The astonishing huge disparity society. …

It is a large mansion with a total area of 900 tsubo, but it was built 2,200 years ago.
However, it is a mansion of the highest class in a society with a huge level of inequality.
The “way of life and sense of value” of people in such a society
The remaining architecture gives us a much clearer picture of the way of life and sense of value of the people of such a society.
A scale of value completely different from that of today emerges from these residences.

From a modern Japanese point of view, it is difficult to share the psychology of having excessive decorativeness on the floor surface.
It is difficult for modern Japanese to share this sentiment.
In the hot and humid climate of Japan, floor surfaces are “raised” from the ground and
They have a strong tendency to “raise” the floor surface from the ground and allow it to “ventilate” into the space under the floor to remove humidity.
This is why the custom of taking off one’s footwear and “coming up” to the house has taken root.
The floor surface is an object that is perceived by the soles of the feet, the bare skin.
Tatami mats, as the highest quality floor surface, have nurtured a unique living culture.
Today, tatami is mixed with wooden flooring and has become the mainstream flooring culture.
Tatami is the base of Japanese flooring, regardless of class.
In any case, the sense of boundedness from the earthen floor to the floor of the house is the sense of the floor surface of the house.
In this respect, there is a difference from other Eastern cultures.
This is what differentiates it from other Eastern cultures and separates it from Western cultures, where it is not customary to take off one’s shoes even inside the house.
In this luxury house at the Pompeii site, even in what appears to be an interior space, the floor is basically a flat stone surface.
The floor surface seems to be based on a flat stone surface.
Naturally, people must have lived their daily lives with their shoes on.
In addition to such a difference, the floor surface is also considered as a campus.
The above photo is a mosaic of “Alexandros the Great” and “Alexandros the Great”.
The photo above is the “Alexander the Great Mosaic.
It was an elegant floor mosaic in what could be considered the highest space of the house.
The detailed mosaic expression, which could be mistaken for a painting, was made by a technique called “opus wellmikratum.
The mosaic was made by a precise and delicate technique called opus wellmikratum. A rough sketch is made on the mortar, and then the mosaic is painted according to the sketch.
The mosaic is made by drawing a rough sketch in mortar and then embedding fine cut stones (tesserae) of natural materials, each a few millimeters in size, one by one.
In this work, 15 to 30 tesserae are used per square centimeter, and the total number of tesserae in the entire picture is several million.
The color tones of the natural stone material are selected and used as “paint” for the painting.
Because of the fineness of the expression, they were manufactured in a special workshop and fitted into the site.
The modern man cannot bear to leave such a work of art on the floor, so it was placed in the National Archaeological Museum of Naples.
It is said that it was housed in the National Archaeological Museum in Naples.
Naturally, it was displayed on the “wall” at the Tokyo National Museum’s “Pompeii Exhibition” this time.
It was displayed on the wall of the Tokyo National Museum’s Pompeii Exhibition. The theme of this “painting” is also the theme of the material used for the painting.
Although various studies have been conducted on the theme of the material of this “painting”, it is not clear whether it is an ancient heroic epic from 2,200 years ago.
The theme of these “paintings” has been studied in various ways, but the theme is said to be an ancient heroic epic of 2,200 years ago.
And they were used as “floor decorations”.

Well, if it’s a themed decoration of other animals, etc., it’s still a good idea.
It is a funny atmosphere, though, as if to say, “Oh, I stepped on it, sorry.
But the mosaic compositions in this way show the historical importance of art and craftsmanship.
It makes us realize the historical depth of the Italian tile culture.
I wonder if this kind of lifestyle culture is also compatible with carpet culture.
The huge disparity in social class that would allow for the mobilization of a large number of cutting-edge craftsmen to order such works is also deeply engraved in this exhibition.
The huge social class disparity that would make it possible to order such works and mobilize a large number of advanced craftsmen is also deeply engraved in this work.
The ancient ruling class of Japan, who are believed to have lived in pit dwellings in the castle in Yoshinogari, is a rather huge social structure.
The social structure of the Japanese society is much more “equal” than that of the Japanese people.
Am I the only one who feels that Japanese society is much more “equal”?

Posted on 5月 26th, 2022 by 三木 奎吾
Filed under: 住宅マーケティング, 歴史探訪 | No Comments »

【古代地中海世界の石造住宅「ファウヌスの家」-2】



2200年前の日本の建築と考えると古墳もまだなかったとされる。
たぶん吉野ヶ里のような木造建築構造で、住宅としては
竪穴住居が一般的な住居形式だったとされる。
それに対してヨーロッパ地中海世界では基本的には石造の文化。
ここはギリシャの古代国家からローマへの移行期でしょうが、
ギリシャの材料でローマができたと言われるように、
石造建築は長期的耐久性を持っているので火山噴火で埋没したポンペイは
その噴火堆積物を除去すれば現代にタイムカプセルとして復元する。
日本の吉野ヶ里や三内丸山縄文遺跡以上に古代「観光スポット」化している。

今回東京上野の国立博物館で重層的にその古代都市・社会を展示された。
その展示資料などから手掛かりを得て、古代の住宅を考えていきたい。
きのうも「平面図・間取り図」を掲載しましたが、
どうもあまり住宅について重視していなかったのか、国立博物館展示資料では
間取り図上での空間用途区分が明示的ではない。
そこでその空隙を埋めるために調査しておおむね使用途と認識可能な区分で
わたしが現代語変換してみたのが、以下の図です。

いちばん下側が玄関入り口に相当する。
上の写真はその入り口部分の写真で煉瓦素材を積層させて架構している。
総面積900坪の大豪邸の入口としてまことに重厚な門構え。
すぐ下の写真はその右側内部壁面の様子。
レンガに対して「スタッコ」といわれるモルタル素材で塗り固める手法。
復元の現状では木造とおぼしき屋根が掛けられているけれど、
これについては想像の範囲なのかも知れません。
観光の用として建物を保守する必要上、このように保護被覆した可能性。
で、間取り図を確認すると玄関を入ってすぐに「アトリウム」空間があり、
その真ん中に水盤状の平面区画があって家の名前の「ファウヌス」の像がある。
「牧神」という意味で象徴的な位置にあることから家の名前に付けられた。
間取り図で用途が記されていない室は個室で、玄関の左右を別にすると
全部で20近い個室数になっている。
家族だけではなく、戦争の結果捕虜となり奴隷とされた人々なども
下人として使役されていたようにも想像できる。
アトリウム「中庭空間」が、最奥の菜園とおぼしき箇所も含め４箇所。
こういう間取り構成は中国の「四合院」的なイメージにも通ずる。
想像では台所と居間B、浴室などのスペースが主人の住宅空間と思える。

地中海世界は現代のヨーロッパ文明の初源の姿なのでしょう。
基本は石造文化であり建築的には「壁の建築」。
個室空間をいかに造作するか、それをどのように連携させるかで、
回廊的なアトリウムが連携機能を果たしていたと思える。
日本の「竪穴住居」はこの個室に近い感覚であって、
その造作の基本が「掘っ立て柱」と梁の木材となる。
この間取り図に従って、明日以降もこの家を探訪してみたい。

English version⬇

The House of the Faunus, a stone house in the ancient Mediterranean world.
Japan of the same period had large wooden prestige buildings and pit dwellings with dugout pillars and beam timbers in the vicinity. In contrast, Europe was based on a stone dwelling culture. ・・・・・.

Considering the architecture of Japan 2,200 years ago, it is believed that there were no burial mounds yet.
It was probably a wooden building structure like Yoshinogari, and as a residence
In contrast, in the European Mediterranean world, the basic culture was stone.
In contrast, the European Mediterranean world is basically a stone culture.
This would be the transition period from the ancient Greek state to Rome, but
As they say, Greek materials were used to build Rome.
Pompeii, which was buried by a volcanic eruption, is a modern-day structure that could have been built with stone if the eruption deposits were removed.
Pompeii, which was buried by a volcanic eruption, can be restored as a time capsule in modern times by removing the eruption sediments.
Pompeii has become more of a tourist attraction than the Yoshinogari and Sannai-Maruyama Jomon sites in Japan.

This time, the National Museum in Ueno, Tokyo, exhibited the ancient city and its society in a multilayered manner.
I would like to consider the ancient housing by obtaining clues from the exhibits and other materials.
Yesterday, I posted “Floor Plans and Floor Plans.
I guess I didn’t focus too much on housing, but the National Museum’s exhibition materials show the following.
The spatial use classification on the floor plan is not explicit.
So, in order to fill in the gaps, I have tried to use a classification that is generally recognizable as a use.
I have converted them into modern language as shown　below.

The bottom side corresponds to the entrance.
The photo above shows the entrance, which is constructed of stacked bricks.
It is a truly massive entrance to a mansion with a total area of 900 tsubo.
The photo immediately below shows the interior wall on the right side.
The brick is coated with a mortar material called “stucco.
The roof, which appears to be made of wood in the restored state, is covered with a stucco.
This may be a matter of imagination.
It is possible that the building was covered with this protective covering in order to maintain the building for tourism purposes.
The floor plan shows an “atrium” space immediately after entering the entrance.
In the middle of the atrium, there is a water basin-like flat area with a statue of “faun,” which is the name of the house.
The name of the house is derived from its symbolic position, meaning “pastor god.
The rooms whose use is not indicated on the floor plan are private rooms, and if we separate the rooms on either side of the entrance, the total number of private rooms is nearly 20.
In all, there are nearly 20 private rooms.
Not only family members, but also those who were captured and enslaved as a result of the war.
It can be imagined that not only family members but also those who were captured and enslaved as a result of the war were used as servants.
There are four atrium “courtyard spaces,” including a vegetable garden at the far end.
This kind of floor plan is similar to the Chinese “Shiaoyuan” style.
In my imagination, the kitchen, living room B, bathroom, and other spaces seem to be the master’s residence.

The Mediterranean world is probably the original form of modern European civilization.
It is basically a masonry culture and architecturally a “wall architecture.
It is how the private spaces are built and how they are linked together.
It seems that the cloister-like atrium served the function of coordination.
The Japanese “pit dwellings” are similar to these private rooms.
The basis of the construction is the “hottate-bashira” (dugout post) and wood beams.
Following this floor plan, I would like to continue exploring this house tomorrow and thereafter.

Posted on 5月 25th, 2022 by 三木 奎吾
Filed under: 住宅マーケティング, 歴史探訪 | No Comments »

【2200年前のポンペイ古民家「ファウヌス邸」-1】




わたしのブログは住宅探訪を中心にした暮らし文化の探究がテーマ。
仕事では現代の高断熱高気密住宅にスポットを当てた探訪が中心。
個人の興味を中心にしたブログでは過去の人々の住み方を
掘り起こすことを中心にしています。
言ってみれば人類史と住宅空間、というようなくくり方。
血の脈絡を考えると日本民族の基底的な暮らし方と
現代型の日本の北方圏住宅との対比で考証するという立場。
その流れから古代の遺跡・住居もいろいろ探訪します。
で、ときどきスピンアウトで今回は地中海世界のポンペイの住宅探訪。

ことしの春３月に東京国立博物館展示での「ポンペイ展」。
ポンペイというのはご存知の通り、地中海世界で西暦79年10月24日に近隣の
ヴェスヴィオ火山の噴火で埋没したヘレニズム世界の古代都市。
現代のナポリから直線距離で20数キロ南東に位置している。
最近、地中海の地質的な変移の様子を伝えるNHK番組があったけれど、
数百万年の単位ではジブラルタル海峡は活発な火山活動でときどき閉鎖され
地中海全体から海水が蒸発して海底岩塩層を形成しているという内容。
日本は火山列島として地球上でも特異な地域だと思うけれど
地中海世界というのはそれ以上に活発な地球的火山活動エリア。
このポンペイ周辺の火山爆発も約2000年ほどとほんのちょっと前だけれど、
そういう歴史的経緯なので街全体がスッポリとタイムカプセル保存された。
それを発掘することで時間旅行するかのような体験が得られる。
で、古代世界の「住宅」が蘇ってきたのですね。

わたしのツボ領域ではあるけれど短時間の見学接触だけでは足りず、
展示会図録や写真などから住宅探訪として再構成してみたい。
この「ファウヌス邸」はポンペイ住宅展示の最初の紹介事例。
当時のポンペイの人口は約10,000人程度でこの家は代表的高級住宅。
本日は間取り図と現地の様子を伝える展示画像からの抜粋で構成しました。
1,2,3と間取り図面に番号を振った箇所が写真の位置になります。
この邸宅は公共的に区切られた街区3,000㎡（約900坪）の１区画。
１は玄関空間から入って正面の「公的空間」のアトリウム越しに
主人の居室空間である「タブリヌム」を望む様子。
２は玄関廊下（ファウケス）であり壁面には壁画装飾が残っている。
３は古代の英雄アレクサンドロス大王のモザイク画がある最高空間「エクセドラ」。
・・・というような具合でなんとか解読していますが、
展示図録、展示物、間取り図でも細部詳細説明が得られないもどかしさ。
しかしそれがかえって強く想像力を刺激してくれることになります。
この全体が900坪ということで、間取り図上の正方形ひとつが個室。
方形区画の「アトリウム」が数カ所造作されて
それに対して回廊的な住空間が配置されているのですね。
明日以降も古代人の住宅解読を続けたいと思います。う〜む、オモシロい（笑）。

English version⬇

Villa Faunus, an ancient house in Pompeii dating back 2,200 years.
Buried by a volcanic eruption, the 2,200-year-old house and its “way of living” are preserved in a time capsule. What is the Mediterranean world and the sense of value of our ancestors? …

The theme of my blog is an exploration of lifestyle culture with a focus on residential exploration.
In my work, I focus on exploration of modern, highly insulated and airtight homes.
My blog, which focuses on my personal interests, is centered on digging up the ways people lived in the past.
I focus on digging up how people lived in the past.
In other words, human history and housing space.
In the context of blood, we can see a connection between the basal way of living of the Japanese people and the modern Japanese northern housing.
The contrast between the basic way of living of the Japanese people and the modern Japanese northern housing is the focus of my research.
In this vein, I also explore various ancient ruins and dwellings.
And, as a spin-out from time to time, this time I am going to visit the houses of Pompeii in the Mediterranean world.

The “Pompeii Exhibition” was held at the Tokyo National Museum in March of this year.
Pompeii, as you know, is a city in the Mediterranean world that was destroyed by the eruption of the nearby Vesuvius on October 24, 79 AD.
Pompeii, as you know, is an ancient city in the Hellenistic world that was buried by the eruption of the nearby volcano Vesuvius on October 24, 79 AD.
It is located more than 20 kilometers southeast of modern-day Naples in a straight line.
Although there was a recent NHK program showing the geological transformation of the Mediterranean Sea
In millions of years, the Strait of Gibraltar was sometimes closed due to active volcanic activity, and the sea water evaporated from the entire Mediterranean Sea.
The program showed that over millions of years, the Strait of Gibraltar has sometimes been closed due to active volcanism, and that seawater has evaporated from the entire Mediterranean Sea to form submarine salt deposits.
Japan is a unique region on earth as a volcanic archipelago, but the Mediterranean world is even more active than that.
The Mediterranean world is an area of global volcanic activity that is even more active than Japan.
The volcanic explosion around Pompeii is only about 2,000 years old.
Because of this historical background, the entire city was completely preserved as a time capsule.
Excavating it is like traveling back in time.
So, the “houses” of the ancient world have come back to life.

I was not satisfied with the short time I had to visit the museum, so I decided to go back to my home.
I would like to reconstruct it as an exploration of housing based on the exhibition catalog and photographs.
This “Villa Faunus” is the first example of the Pompeian housing exhibition.
The population of Pompeii at that time was about 10,000, and this house is a typical luxury residence.
Today’s exhibition consists of floor plans and excerpts from the exhibition images showing the local conditions.
The numbered sections on the floor plan (1, 2, and 3) are the locations shown in the photos.
The residence is one of the 3,000 square meters (approximately 900 tsubo) of publicly zoned city blocks.
1 is over the atrium of the “public space” in front of the entrance space.
1 is a view of the master’s living space, “Tabrynum,” through the atrium of the “public space” in front of the entrance space.
2 is the entrance corridor (faukes), the walls of which still have mural decoration.
3 is the highest space “Exedra” with a mosaic of the ancient hero Alexander the Great.
I’ve managed to decipher the rest of it.
It is frustrating that even the exhibition catalog, exhibits, and floor plans do not provide detailed explanations.
However, this in turn strongly stimulates the imagination.
The entire building is 900 square meters, and each square on the floor plan is a private room.
The “atrium” of the square section is built in several places, and the living space is divided into corridor-like spaces.
The living spaces are arranged in a corridor-like manner.
I would like to continue deciphering the housing of the ancients from tomorrow onward. Hmmm, interesting (laugh).

Posted on 5月 24th, 2022 by 三木 奎吾
Filed under: 住宅マーケティング, 住宅取材＆ウラ話, 歴史探訪 | No Comments »

【コミュニケーション画像ツールなどの現代的進化】



写真はなにげに「どんな絵や筆文字が書いてあるのか」と
ふと疑問に感じていた至近の神社の拝殿天井の格天井画の様子。
わたしはブログを書き続けてきていますが、
日々のことがらを表現するのに、文章と並んで
画像についていろいろにテックを追究するようになる。
まぁ仕事柄もあり住宅・建築についてのことが多いので
文字だけでは当然伝えきれない領域があって、
直感的な画像の「編集」ということに注目するようになるのは自然。

そういう習慣化があるとブログのような軽いデータでも十分な場合には
iPhoneで「いつでもどこでも」気軽に写真撮影して
あとで時間ができたときに画像を確認しながら思索テーマを絞り込み
そのテーマに沿って「画像編集」していくことになります。
で、当然、DTPが仕事領域なのでいくつか専門的なソフトを利用し、
それらを連携して利用することでテックを向上させることが可能になる。
・・・とは言ってもまことにお恥ずかしい未熟さですが（泣）
ただ、ブログのようなテーマ領域ではこういった利便性はありがたい。
前記の天井画については「そのうちに画像編集すれば理解が進む」と
あまり考えることもなく「撮りっぱなし」にしていたのですね。
下の写真が実際に撮影した状況なのですが、
今回時間があったので上の写真のように編集した次第。
「おお、花鳥風月の大和絵と立派な書での構成か！」と確認。
画像の「正確性」という点では詰めなければならない部分があるけれど、
およその「大意」としては十分な把握が可能。
ブログ表現のような「日記的書き留め機能」としてはこの程度でいい。
このような「画像編集」を起点にした思索というのは、
いかにも現代的テクノロジーによって得られた表現領域ではないか。

わたしはブログって兼行法師の「徒然草」なのではないかと思っています。
日本人の多くが文字をツールとして完全利用できるようになったのは、
歴史的にそう古い時代とは言えない。
そして画像と文章がコラボして一体の表現世界を構成できるようになったのも
日本で言えば絵巻物みたいな表現形式が初源なのでしょう。
そういう表現ツールが始められてからまだ数百年程度。
そこから超絶の進化を遂げてわたしたちはSNSというような小衆同士での
自立的なコミュニケーション手段まで得られるようになってきた。
そして兼行法師さんは画像を持たなかったのに、
わたしたちはより自由度の高い画像表現まで取得できている。
まことに面白い時代を生きていると思っています。

English version⬇

[Modern evolution of communication imaging tools, etc.
Expressions that were difficult to spread in the age of Kenkou-hoji can now be edited by the general public. The super expansion of communication. …

The photo shows the ceiling painting of a nearby Shinto shrine, which I had been casually wondering what kind of pictures and brush strokes were written on it.
I have been writing a blog for some time now, and I have been wondering what kind of pictures and brush strokes are written on the ceiling of a nearby shrine.
I have been writing a blog for a long time.
I have been writing a blog for a long time, and I have been pursuing various techniques for images as well as writing to express my daily life.
I have been writing a blog for a long time, and I have been exploring various techniques for images as well as writing to express my daily life.
Well, because of the nature of my work, I often write about housing and architecture.
I naturally cannot convey the message through text alone, so I started
It is natural for me to pay attention to intuitive image editing.

When such a habitual practice is established, it is easy to take photos “anywhere, anytime” with an iPhone when light data such as a blog is sufficient.
I can easily take pictures with my iPhone “anytime, anywhere” and
When you have time later, you can check the images and narrow down the theme for contemplation.
and then “edit” the images according to that theme.
Naturally, since DTP is my area of work, I use a number of specialized software packages.
By using them in conjunction with each other, it is possible to improve the tech.
I’m still a bit embarrassed by my inexperience, though.
However, I appreciate this kind of convenience in such a faintly thematic area as blogging.
As for the aforementioned ceiling painting, I thought, “I will understand it better if I edit the image in due time.
You left the picture “as is” without thinking much about it.
The photo below shows the actual situation.
I finally had a little time to edit the picture, so I edited it to look like the picture above.
I was able to confirm that “Oh, it’s composed of Yamato-e paintings of flowers, birds, winds, and the moon, and splendid calligraphy! I confirmed it.
Although there are some parts that need to be corrected in terms of the “accuracy” of the image, it is enough for the approximate “general idea.
but I could grasp the general meaning of the image.
This is enough for a “diary-like writing function” like a blog expression.
This kind of “image editing” is a kind of contemplation that is a result of modern technology.
This kind of “image-editing” is an area of expression that has been made possible by modern technology.
I think that blogging is like “Tsurezuregusa” by Kanegyo Hoshi.

It is not so long ago in history that most Japanese people were able to fully utilize the written word as a tool.
It is not so old historically.
And it is not so long ago that images and texts came to be able to collaborate to form a single world of expression.
In Japan, the first source of this type of expression is probably the emakimono.
It has only been a few hundred years since these tools of expression began.
From there, we have evolved to the point where we now have independent means of communication among small groups of people, such as SNS.
We have even come to have independent means of communication among small groups of people, such as social networking.
And while Mr. Kanegyo had no images, we have more freedom to express ourselves through the use of images.
We have even been able to acquire a higher degree of freedom in image expression.
I think we are living in a very interesting era.

Posted on 5月 23rd, 2022 by 三木 奎吾
Filed under: Mac.PC＆DTP, こちら発行人です, 日本社会・文化研究 | No Comments »

【ライラック＆ハシドイ 百花繚乱５月の札幌】




サクラの季節が終わったあと、ちょっとするとライラックが咲き誇る札幌。
ちょうど今週末からは「ライラック祭り」の季節。
ことしはついに３年ぶりのリアル開催という喜ばしい知らせ。
フランス名で「リラ」というこの花は独特の芳香で知られ、
初夏の北海道が「天国に一番近い」と思われる重要な「香り」要素。
さわやかな青空、ここちよい空気感にさらに彩りを与えてくれる。
日本に初めてライラックが持ち込まれたのは1879年とされる。
函館市のイギリス領事であったリチャード・ユースデンが
「病気の人が病院を必要なように健康人には休憩の場が必要だ」と訴え、
函館公園が完成。その時ユースデン夫人はイギリスから西洋クルミとライラックの苗を
取り寄せ植栽したのが始まりとされる。
一方札幌市ではスミス女学校（現・北星学園女子中学高等学校）の創設者である、
サラ・Ｃ・スミスが1890年にアメリカに一時帰国した際に、
自分の庭のライラックの苗を札幌に持ち込んだのが始まりとのこと。
日本の文化の中で北海道、札幌が独特のロマンチズムを感じさせるのは、
このような坂の上の雲の欧米文化を日本が受け入れて
しかもそのことに大きな民族レベルでの好感を寄せていたことが大きい。
札幌の街がこのような文化性の象徴として赤煉瓦庁舎や時計台建築とともに、
ライラックを街のシンボルとしてきたことは象徴的だと思える。
この開花時期はほかの花々もほぼ一斉に開花時期を迎えて
さまざまな芳香で街中が魅惑的な空間と化す。まさに天国・・・。

一方でこれも札幌の街路樹としてライラックに似た白い花を咲かせる
「ハシドイ」は日本の高地性の在来樹木。
初夏になるとライラックのように小さな花が集まった花房をつけ、とてもいい香り。
ライラックに似た品のいい芳香で夕方になると強くなる。樹高は10メートルほど。
英名の通称は”Japanese Lilac Tree” だそうで日本や朝鮮半島に自生している。
モクセイ科のライラックの仲間で、アメリカには北大で教鞭を執ったクラーク博士が
ハシドイの種子を日本から持ち帰っているという。
こういった経緯からはやはり日本社会と欧米社会の文化のブレンドを
つよく意識させてくれる。
本ブログとしてはほかの花々を代表させてツツジを添えました（笑）。
ピンクと白の木の花への対照としてはやはり低灌木のツツジがいいかと。

わたしは明治以降、欧米との文化ブレンドに取り組んだ北海道の
短い歴史だけれど、日本にとって重要な文化風土に強く愛着を持っています。
そして欧米的価値感とはやはりその基本は民主主義なのだろうと思います。
３年ぶりライラック祭り開催は現代世界へのメッセージになるのかも。

English version⬇

Lilacs & Hashidoi Like a gathering of many beautiful women in Sapporo
Sapporo, Hokkaido, a city that practiced cultural fusion with Europe and America. The colors of the season that is “closest to heaven”. The cultural power to exterminate foolish dictatorial tyranny. …

After the cherry blossom season is over, lilacs will be in full bloom in Sapporo in a short while.
This weekend is the season of the “Lilac Festival.
This year, the festival will finally be held for the first time in three years.
This flower, called “lilac” in France, is known for its unique fragrance.
It is an important “fragrance” element that makes Hokkaido in early summer the “closest to heaven.
It adds even more color to the crisp blue sky and pleasant air.
Lilacs were first brought to Japan in 1879.
Richard Eusden, the British consul in Hakodate, was the first to introduce lilacs to Japan.
Richard Eusden, the British consul in Hakodate, argued that “healthy people need a place to rest, just as sick people need hospitals,” and Hakodate Park was completed.
Hakodate Park was completed. At that time, Mrs. Yousden brought walnut and lilac seedlings from England and planted them.
The park is said to have begun when Mrs. Eusden imported walnut and lilac seedlings from England and planted them in the park.
Meanwhile, in Sapporo, Sarah C. Smith, founder of the Smith School for Girls (now Hokusei Gakuen Girls’ Junior and Senior High School), was born in 1890.
Sarah C. Smith, the founder of Smith School for Girls (now Hokusei Gakuen Girls’ Junior and Senior High School)
She brought lilac seedlings from her garden to Sapporo.
In Japanese culture, Hokkaido and Sapporo have a distinct romanticism.
Japan’s acceptance of this kind of cloud-on-the-slope Western culture.
The city of Sapporo is a place where this culture is still alive and well.
The city of Sapporo has been a symbol of this culture, with the red-brick government office building and clock tower, and the lilac as the city symbol.
The fact that the city of Sapporo has made the lilac the symbol of the city, along with the red-brick government office building and the clock tower, is symbolic of this cultural identity.
During this blooming season, other flowers are also in bloom at the same time, and the city is filled with various fragrances.
The city is transformed into an enchanting space with a variety of fragrances. It is truly heaven.

On the other hand, the “hashidoi,” which blooms white flowers similar to lilacs, is also a street tree in Sapporo.
Hashidoi is a native tree of Japan’s highlands.
In early summer, it produces clusters of small flowers like lilacs and has a very nice fragrance.
The fragrance is elegant, similar to that of lilacs, and becomes stronger in the evening. The tree is about 10 meters tall.
Its common name in English is “Japanese Lilac Tree,” and it grows wild in Japan and the Korean Peninsula.
It is a member of the lilac family of the Moraceae, and Dr. Clark, who taught at Hokkaido University in the U.S., has been a professor of Japanese Lilac at the University of California, Berkeley.
Dr. Clark, who taught at Hokkaido University, is said to have brought seeds of the hashidoi back from Japan.
This is a good example of the blending of Japanese and Western cultures.
This is a good example of the blending of the cultures of Japanese and Western societies.
For this blog, I have included azaleas to represent other flowers (smile).
I think azaleas, which are low shrubs, are a good contrast to the pink and white flowers of trees.

I am interested in the history of Hokkaido’s efforts since the Meiji era to blend its culture with that of Europe and America.
I have a strong attachment to the cultural climate of Hokkaido, which has a short history but is important to Japan.
And I believe that the basis of the Western sense of values is democracy.
The holding of the Lilac Festival for the first time in three years may be a message to the modern world.

Posted on 5月 22nd, 2022 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 »

【紀州の国土地政学〜奈良・和歌山探訪-33】



紀州という北海道在住者からすると現代でもあまり縁の近くない地域。
たまたま家系伝承である起点になっている経緯に導かれて深掘りしてきました。
そのテーマについては非常にか細い手掛かり段階で
これからできるだけ事実の痕跡を確認していきたいと思います。
とくに２枚目の写真の藤堂高虎、桑山重晴の時代がキーポイントかと。
しかしそのようなピンポイント探索でも調査範囲は広く深くする必要がある。
必然的に紀州の総体についてあれこれの角度から探っていく考えです。
過程ではわかやま城歴史館で学芸員の方とお話しできるなど
深掘りの手掛かりはさまざまに得られた次第。
現代は過去のどの時代よりもWEBの発達などでピンポイント探索が可能。
たかだか400年ちょっと前の事実なのでそれくらいの時間経過は
これから以降の時代には相当に全体把握が可能になると思われます。
人間社会はリレーランニングという進化構造。
いま生きている人間は、その探索に全力を尽くすことで
これから先の人々に知恵を伝承していくことができる。

紀州の「地政学」という視点はあまり考えてこなかったし、
断片的理解だったのですが、この説明図で巨視的な視点に気付かされた。
江戸期になぜ紀州に御三家が置かれたのかがわかるし、
また近畿圏にとって紀州の存在もよく見える図面。
奈良県の山岳地帯を含めて考えると紀州は近畿の巨大な自然資産。
最南端にちかい熊野が占めている宗教的位置が象徴的。
そしてこの地図からは伊勢神宮までそのコントロール下に置いている。
朝廷が歴世尊崇してきた地域を支配下にしている。
そして紀州徳川家の版図として尾張徳川家と連携して
京大阪の大人口集積地をコントロールする地政学的位置。
またその尾張の先には徳川氏の本願の地である静岡があって
江戸を望んでいるといえる。家康の列島支配権力構造の中では
こういった環太平洋型の戦略構造が存在したように思われる。
家康は頼朝を先達として尊崇したとされるけれど、
鎌倉と江戸とを繋ぐ「統治原理」のような戦略性を感じる。
そういうなかで中心都市の和歌山は関西圏の瀬戸内海海運に参加するとともに、
ここを起点としての紀伊水道〜太平洋航路の重要拠点。
江戸期の紀伊国屋文左衛門が江戸の大火後、再建資材として木材出荷で
巨利を得たというのは、この「太平洋航路」利用という側面が
大きかったのだろうと思われる。
江戸期前までは瀬戸内海海運が大動脈であり、
比較的に波の穏やかな日本海海運によって北海道も含めた物流ネットワークが
日本社会の「オモテ」だったのだろう。
さて、次回以降の探索に向けて地道にできることを継続したい。

English version⬇

Kishu’s Geopolitics: Exploring Nara and Wakayama – 33
Ieyasu’s strategy to dominate the Pacific Belt region of Kishu. The contrast between the traditional Japanese social system centered on trade on the Seto Inland Sea and the Sea of Japan. …

Kishu, a region that even today is not so closely related to Hokkaido from the perspective of a Hokkaido resident.
I have been digging deeper, guided by the history that happens to be the starting point of a family tradition.
We are still at the stage of very faint clues on the subject.
I would like to confirm the traces of facts as much as possible from now on.
In particular, the period of Takatora Todo and Shigeharu Kuwayama in the second photo may be the key point.
However, even in such a pinpoint search, the scope of investigation needs to be broad and deep.
Inevitably, we would like to explore Kishu as a whole from various angles.
In the process, I could talk with the curator at Wakayama Castle History Museum, etc.
I was able to get various clues to dig deeper.
Today, the development of the Internet and other means has made it possible to do more pinpoint searches than at any other time in the past.
The fact that it is only a little more than 400 years old means that the passage of time is
It will be possible to grasp the whole picture in the future.
Human society is an evolutionary structure of relay running.
People who are alive today will do their utmost to search for it.
We can pass on our wisdom to those who will come after us in the future.

I had not given much thought to the “geopolitical” perspective of Kishu, and
It was a fragmented understanding, but this illustration made me realize the macroscopic viewpoint.
I now understand why the Gosanke were located in Kishu during the Edo period.
The drawing also clearly shows the existence of Kishu for the Kinki region.
Kishu, including the mountainous areas of Nara Prefecture, is a huge natural asset of the Kinki region.
The religious position of Kumano, which is near the southernmost point, is symbolic.
The map also shows Ise Shrine under its control.
The Imperial Court has controlled the area that has been revered and respected for generations.
And as a version of the Kishu Tokugawa family, in cooperation with the Owari Tokugawa family, they control a large population center in Kyoto and Osaka.
The geopolitical position to control the large population center of Kyoto-Osaka.
The Owari region is located in Shizuoka, which is the main desire of the Tokugawa clan.
Edo, the capital of the Tokugawa clan. In Ieyasu’s power structure to control the archipelago
Ieyasu’s power structure for controlling the archipelago seems to have been a Pacific Rim-type strategic structure.
Ieyasu is said to have respected Yoritomo as his predecessor.
I feel the strategic nature of the “ruling principle” that connects Kamakura and Edo.
In this context, Wakayama, the central city, participated in the Seto Inland Sea shipping of the Kansai region.
Wakayama is an important base for shipping routes between the Kii Channel and the Pacific Ocean, and also participates in the Seto Inland Sea shipping routes in the Kansai region.
It is said that Kinokuniya Bunzaemon in the Edo period earned a huge profit by shipping lumber as materials for rebuilding after the Great Fire of Edo.
The fact that Kinokuniya Bunzaemon earned a huge profit by shipping lumber as materials for rebuilding after the Great Fire of Edo is thought to have been due in large part to the use of the Pacific Ocean route.
The fact that Kinokuniya Bunzaemon made a huge profit by shipping lumber to rebuild after the Great Fire of Edo (1603-1868) is thought to have been due in large part to the use of the Pacific Ocean route.
Until the Edo period, the Seto Inland Sea was the main artery of shipping.
The Japan Sea, with its relatively calm seas, provided a logistics network that included Hokkaido.
The Japan Sea shipping network, which included Hokkaido, was the “Omote” of Japanese society.
Now, we would like to continue what we can do steadily for the next and subsequent explorations.

Posted on 5月 21st, 2022 by 三木 奎吾
Filed under: 日本社会・文化研究, 歴史探訪 | No Comments »

【天守閣デザインの検討図面〜奈良・和歌山探訪-32】




城郭というのは戦国末期から江戸時代に非常に多く建築された。
地形のそれぞれの特徴を把握したり、軍事的な側面からの立地選択など、
いかにも「用」としての基本設計部分については
当時の軍事常識を踏まえた合理的な分析が可能だと思います。

そういうなかで「天主」という建築は、
目的としては高所からの情勢判断、観望ということだろう。
この段階での戦争は基本的には白兵戦による陣地攻防戦。
軍勢の動きを高所から観望して各陣地に戦力配置する判断にとって
必要欠くべからざる建築要素だったことでしょう。
一方で地域支配の象徴であり、ある意味安心感の担保装置。
武力という目に見える権力の象徴、アイコンになっていた。
天主という建築領域がいつ成立したのかは不勉強ですが、
一般的には戦国の覇者・信長が築いた安土城天守がその嚆矢だったと思える。
独特の「天下布武」思想を実践していった信長らしい建築として
近年、その復元が行われた博物館も安土にはあり、見学して
その様子をこのブログでも紹介しています。
いかにも「天主」というコトバ通りの上層階デザインが展開していた。
天主というものの基本属性から「どう見られるか」ということに
権力者として強く意識を持つに違いない。
権力者は古今東西、自分が権力者であることを他者に強く認識させたい。
一方で自然人としてはなぜ自分が他者よりも上位なのか、
不安にさいなまれるのが普通の感覚なのでしょう。
そういう不安心理は建築という人間行為に深く反映していく。
和歌山城で「外観デザイン検討図案」を興味深くみた。
豊臣支配が関ヶ原で転換し、1600年に紀州を領国とした浅野氏が
その権力を誇示するために「見え」について考えた痕跡。
２枚目の写真と３枚目の写真の３点の外装デザインを巡って
領主・浅野氏と家臣団、建築担当者スタッフとの打合せ記録です。

武士という階層は戦国末期に至って支配層として身分を確立させた。
日本的な「封建権力」として固定化された。
そうすると様式化が急速に進んでいったのだと思える。
その大きな精神性テーマが「見え」だった。
一昨日触れた「三十三間堂通し矢」などの様式化されたことがらに対して
自らの記録を破られたことを「恥辱」と感じる感性。
そのようなバカげたことに「一所懸命」になるように追い詰められる心性。
総じて「見え」にこだわって生きるという悲しい不安の心理。
天主のデザインにこだわる心性には同様の要因が隠されているように思う。
しかし歴史を踏まえた日本人のDNAにはこういう心理要素が色濃いのも事実。
そして明治から150年、世界大戦から75年という節目を越えてきて、
現代建築も新しい価値感に変移していく時期かも知れない。

English version⬇

The study drawing of the castle tower design – Exploration of Nara and Wakayama – 32
The image of the samurai of the peaceful period, who placed the utmost importance on “visibility”. The architects wanted to solve their own anxiety through architecture, and were obsessed with the “visual symbol of domination. …….

Castles were built in great numbers from the end of the Warring States period to the Edo period.
The basic design of castles was based on an understanding of the characteristics of the terrain and the choice of location from a military standpoint.
The basic design of a castle is based on the common sense of the military at that time.
I think it is possible to make a rational analysis based on the military common sense of the time.

In this context, the architecture of the “Tenshu” was designed for the purpose of
The purpose of the “Tenshu” architecture was to assess and observe the situation from a high place.
The war at this stage was basically a battle between white soldiers and the enemy.
The “tenshukaku” is an indispensable architectural element to observe the movement of the army from a high place and to make decisions on the allocation of forces to each position.
The building was an indispensable architectural element for observing the movement of the army from a high vantage point and making decisions on how to deploy forces in each position.
On the other hand, it was a symbol of regional control and in a sense a security device.
It was a visible symbol of power and an icon of military might.
I am not sure when the architectural domain of “tenshu” was established, but it is generally believed to have been a symbol of the supremacy of the Warring States period.
Generally speaking, it seems that the Azuchi Castle keep built by Nobunaga, the supreme ruler of the Warring States period, was a pioneer in this field.
The castle was built by Nobunaga, the supreme ruler of the Warring States period, and it is believed to have been a pioneer in the field of architecture.
In recent years, there is a museum in Azuchi where the castle was restored.
I have already introduced it in this blog.
The design of the upper floors was exactly as the word “tenshu” (Lord of Heaven) implies.
The basic attribute of the “Lord of Heaven” is that it is strongly conscious of “how it is seen” as a person in power.
The person in power must be very conscious of how he or she is seen.
Those in power, in all ages and cultures, want others to strongly perceive them as being in power.
On the other hand, as a natural human being, it is normal to feel insecure about why you are higher than others.
It is normal for a natural person to feel anxious about why he or she is superior to others.
This kind of anxiety is deeply reflected in the human act of architecture.
At Wakayama Castle, I looked at the “Exterior Design Study Plan” with great interest.
The Asano clan, which took over Kishu in 1600 after Toyotomi’s rule changed after the Sekigahara War, built the castle in 1600.
The second and third pictures show the traces of the Asano clan’s consideration of “visibility” in order to show off their power.
The three exterior designs in the second and third photos
These are records of meetings between the lord Asano, his retainers, and the staff in charge of construction.

The warrior class established its status as the ruling class toward the end of the Warring States period.
It was fixed as a Japanese-style “feudal power.
It would seem that stylization then proceeded rapidly.
The major spiritual theme was “visibility.
In response to the stylized events such as the “Sanjusangendo through arrow,” which I mentioned the day before yesterday, the Japanese people were ashamed and humiliated that their own records had been broken.
The sensitivity to feel “humiliation” at having one’s own record broken.
The mentality of being driven to “work hard” at such a silly thing.
A sad and anxious mindset of living in general, obsessed with “visibility.
I think the same factor is hidden in the mentality that is obsessed with the design of the tenshukaku.
However, it is also true that these psychological elements are strong in the DNA of the Japanese people based on their history.
And now that we have passed the milestone of 150 years since the Meiji Era and 75 years since the end of World War II, modern architecture is also shifting to a new sense of values.
It may be time for modern architecture to shift to a new sense of values.

Posted on 5月 20th, 2022 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 »

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