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 »

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 »

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 »

和歌山城の創建期から探究していていろいろな「掘り起こし」がある。
歴史というのは実にいろいろな人間模様を教えてくれる。
三十三間堂というのは京都の有名建築で、縁の長さが三十三間あるとされる。
京都市東山区三十三間堂廻町にある天台宗寺院。建物正式名は蓮華王院本堂。
京都市東山妙法院が所有・管理。元は後白河上皇が自身の離宮内に創建した仏堂。
桁行118.2メートル33間、梁間3間の建築本体四方に1間幅の庇を設けた形。
この長大な縁の空間を目にして、通し矢というイベントを思いつくのは
創建が平清盛であり武家の時代が始まったことと無関係ではないと思われる。
本堂西側の軒下を南から北に矢を射通す弓術競技。安土桃山時代に行われ始め、
江戸時代前期に各藩の弓術家により盛んに行われ、京の名物行事となった。
縁の北端に的を置き、縁の南端から軒天井に当たらぬよう矢を射抜き本数を競った。
藩の後押しで多くの弓術家が技量を競ったことから名誉となり、
一昼夜での通し矢数を競う「大矢数」の記録達成者は「天下一」を称した。
1686年4月27日に紀州藩の和佐範遠（大八郎）が総矢数13,053本中通し矢
8,133本で天下一となり、これが現在までの最高記録を達成した。

この紀州藩士が挑戦したのにはエピソードがあり
戦時下に長谷川一夫主演で日本映画会社すべての協力体制の元、撮影された。
史実に基づいた映画。和佐範遠は過去の新記録保持者の子どもであり、
その記録を尾張藩の家臣・星野勘佐衛門に破られたことから恥じて
父親は自害して果てたという因縁があった。
そういうことからいわば父の仇討ちのような背景事情があったのだ。
で、映画では尾張藩側の妨害工作、浪人を雇っての襲撃まで活写される。
映画らしく、その襲撃から和佐範遠を守ったのが星野勘佐衛門その人という
意外な展開を見せて物語として盛り上げている。
そして見事、三十三間堂通し矢の新記録を樹立することに成功する。
この新記録樹立に対しては京都で盛大な祝宴が催され、
紀州徳川家２代藩主・徳川光貞が直々でかれを出迎え300石の褒美を与えた。

２重の意味でなんとも興味深い歴史事実。
江戸の泰平の世での武士の「生き様」というものが切なく伝わってくるのと、
戦時下で「武士道精神発揚」の意味合いで軍部の許可を得て
ようやく映画制作にこぎ着けた「銃後の人々」の思い。
日本人と武士道というものが一種、象徴的なものとして伝わってくる。
いまちょうど、NHK大河ドラマでは「鎌倉殿と13人」が
始原期のドロドロの武家政治について取り上げているけれど、
その後の武士道の姿について、この三十三間堂通し矢はいろいろな
語り口で教えてくれるものがある。
現代でも似たようなメンタル支配下にあるロシアの蛮行はまことに白日の狂気。
われわれ現代日本は冷静に防衛力を高めなければ
むなしい武士道に生きざるを得なかった先人たちにも申し訳がないと思う。

English version⬇

Sanjusangendo “Passing arrow” Bushido with a false name – Exploring Nara and Wakayama – 30
The honor of being praised and the priority of form. Hana no taijutsu katsudo kyoka event. Bushido, a way of life at the mercy of empty values. …

I have been exploring Wakayama Castle since its foundation and have “dug up” a lot of things.
History teaches us a lot about the human condition.
Sanjusangendo is a famous building in Kyoto with a 33-meter-long rim.
It is a Tendai sect temple located in Sanjusangendo Mawaricho, Higashiyama-ku, Kyoto. The building’s official name is Rengeoin Main Hall.
Owned and managed by Higashiyama Myoho-in, Kyoto. Originally a Buddhist temple built by Emperor Go-Shirakawa in his own detached palace.
The main body of the building is 118.2 meters long with 33 ken and 3 beam spans, and has 1 ken wide eaves on all four sides.
This long rimmed space is the only one that brings to mind the event of the “through-arrow” ceremony.
It is not unrelated to the fact that the building was built by Taira no Kiyomori, the founder of the warrior class.
This is an archery event in which arrows are shot through the eaves of the west side of the main hall from south to north. It began to be practiced in the Azuchi-Momoyama period (1573-1600).
In the early Edo period (1603-1867), it was actively practiced by archers of various clans and became a famous event in Kyoto.
The target was placed at the north end of the rim, and arrows were shot from the south end of the rim to avoid hitting the eaves of the ceiling.
The event became an honor because many archers competed with their skills under the auspices of the clan.
The record holder of the “number of arrows shot in a single day and night” was called “the best in the world.
On April 27, 1686, Noriton Wasa (Daihachiro) of the Kishu Domain achieved a record of 8,133 arrows out of a total of 13,053 arrows.
This was the highest record to date.

There is an episode behind this Kishu clan member’s challenge.
It was filmed during wartime with the cooperation of all Japanese movie companies, starring Kazuo Hasegawa.
The film is based on historical fact. Noriton Wasa was the child of a past new record holder, and
He was ashamed when his record was broken by Kanzaemon Hoshino, a vassal of the Owari Clan.
The record was broken by Hoshino Kansaemon, a vassal of the Owari clan, and his father was so ashamed that he committed suicide.
This is why there was a background circumstance that was akin to avenging his father’s death.
In the movie, the sabotage by the Owari clan side and the attack by hiring ronin (ronin) are vividly depicted.
The film shows an unexpected development in the story, and the story is that it was Hoshino Kansaemon himself who protected Wasa Noriton from the attack.
The story is enlivened by the unexpected development that it was Hoshino Kansaemon himself who protected Wasa Noritoshi from the attack.
The film successfully sets a new record for the Sanjusangendo through-arrow attack.
A grand banquet was held in Kyoto to celebrate the new record.
The second lord of the Kishu Tokugawa family, Mitsusada Tokugawa, personally welcomed him and rewarded him with 300 koku.

This is an interesting historical fact in a double sense.
One, it gives us a poignant picture of the “way of life” of the samurai in the peaceful days of Edo, and two, it shows us the “spirit of bushido” in wartime.
The film was made under wartime conditions with the permission of the military to “promote the spirit of bushido”.
The feelings of the “people after the guns” who finally managed to make the film after receiving permission from the military to “promote the spirit of bushido” during the war.
The Japanese people and bushido are conveyed as a kind of symbol.
The NHK historical drama “Kamakura-dono and the Thirteen” is being broadcast right now.
The drama is about the doldrums of samurai politics during the Hajime period, but it is also about the subsequent form of bushido.
The Sanjusangendo Passage tells us about the form of Bushido after that time in various ways.
The Sanjusangendo Passage has a lot to teach us about the later form of bushido through its various narratives.
The barbarism of Russia, which is under similar mental control even today, is truly a madness in the light of day.
We, modern Japan, must calmly raise our defenses.
I feel sorry for our predecessors who were forced to live a vain Bushido life.

Posted on 5月 18th, 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 »

日本の城郭で基礎的な技術は「石垣」の積層技術なのでしょう。
自然地形を活かしベースにしながら、具体的な戦争行為をそこに反映させて
防御的な視点から陣地を構築して行くとき、
「攻め手が諦める」高い石垣というのが基本だと思われる。
一定の高さ以上の石積みには高い技術発展があったとされる。
そしてもう一つは、濠という水での防衛ということ。
刀や矢、鉄砲による攻撃から身を守るためには防具を着込む必要があり、
それを多人数で装備して濠を越えるのはほぼムリ。
そうして攻城側の陣立てを高い位置から把握して効果的な防衛作戦を組み立てる。
城というのはそういった役割を果たしていたのでしょう。
そういう武力を涵養するには当然ながら経済を押さえる必要があり、
秀吉の大阪城のように全国の富を集中させることで
経済と軍事の主導権を掌握することで日本の歴史的武権は強化された。

そういうことでその両面から日本の土木建築技術が発展した。
上の写真はシリーズで研究している藤堂高虎の築いた「今治城」。
戦略的な位置関係では、歴史的に日本の物流にとって最重要だった
瀬戸内海水運の要衝地に当たることがあきらかです。
地図上の青いラインが現代の「航路」に相当するほどに
理に適った地理把握なのだと思われる。
この要衝地に水運の交易接点としての利便性を高いレベルで確保している。
濠と石垣、そして高所からの人流把握が可能である様子が自明。
日本は多くの山岳によって平野部が分散的になっている。
そして基本が稲作農業であり田んぼに用水を導く土木技術が大発展した。
その土木技術がこの高石垣構築には反映しているのでしょう。
石垣を高く積み上げるには作業合理性と堅牢性の両方が解決される必要がある。
藤堂高虎の時代、水城の土木工事築城手法が大発展して
それをコントロールする技術力が武権側から要請された。
きのうみた近江の琵琶湖水運と陸上交通の結節点を支配する「膳所城」築城で
水上での土木工事技術を確立させ、引き続き瀬戸内海地域で
こうした直接に水運を掌握する水城としての建設も成功させている。
３番目の写真は東国から京都への陸路の要衝、伊賀上野城の高石垣の様子。

どうもこういう石垣構築技術というのが安藤忠雄のコンクリート打ち放しと
二重写しになる気分。藤堂高虎は戦国期の安藤忠雄ともイメージできる（笑）。
いわば土木工事技術によって建築意思を持って地形を改造し、
それを強固な壁としてコンクリートする、みたいな同質性を感じるのです。
逆に現代の「作家性」の高まった建築家たちが、もし築城という建築機会を得たら
どういう城郭建築を実現させるのかと、妄想する（笑）。
日本人というのはこういう築城、自然改造による建築意思の表現が
民族的に相当に「数寄」なのではないかと思ってきています。さて・・・。

English version⬇

The History of the Remodeling of the Archipelago through the Construction of Stone Walls and Waterways – Exploration of Nara and Wakayama – 28
The history of DNA is deeply engraved in the architecture of castles. …

The fundamental technology in Japanese castles is probably the “stone wall” lamination technique.
While utilizing and veiling the natural terrain, specific acts of war are reflected in it.
When building a position from a defensive point of view
It seems to me that the basic idea is a high stone wall that “the attacker gives up.
It is said that there was a high level of technological development in masonry above a certain height.
The other is the defense by water called moat.
In order to protect themselves from attacks by swords, arrows, and guns, it was necessary to wear protective gear.
It was almost impossible for a large number of people to cross the moat equipped with such gear.
The castle was thus used to grasp the position of the attackers from a high vantage point and to formulate an effective defensive strategy.
This is the role of a castle.
In order to cultivate such military power, it was of course necessary to control the economy.
By concentrating the wealth of the whole country, as in Hideyoshi’s Osaka Castle
By seizing control of the economy and the military, Japan’s historical military power was strengthened.

That is how Japan’s civil engineering and construction technology developed on both fronts.
The photo above is “Imabari Castle” built by Takatora Todo, whom we are studying in the series.
In terms of strategic location, it was historically the most important for Japanese logistics.
It is clear that Imabari Castle is located at the strategic point of the Seto Inland Sea water transportation, which was historically the most important for the distribution of goods in Japan.
The blue line on the map corresponds to a modern-day “sea route.
The blue line on the map corresponds to a modern “sea route.
The site is conveniently located at this strategic point as a trading contact point for water transportation.
The moat, stone walls, and the ability to grasp the flow of people from high places are self-evident.
In Japan, plains are dispersed by many mountains.
The basic agriculture in Japan is rice farming, and civil engineering technology to guide water to rice paddies has developed greatly.
This civil engineering technology is probably reflected in the construction of this high stone wall.
In order to pile up stonewalls high, both work rationality and robustness need to be resolved.
During the reign of Takatora Todo, the method of civil engineering construction of water castles developed greatly, and
The technical ability to control it was required from the military side.
The construction of “Zesho Castle,” which controlled the node of Lake Biwa water transportation and land transportation in Omi, as I mentioned yesterday, established the technology of civil engineering works on the water.
The castle was built to control the water transportation of Lake Biwa and land transportation in the Omi area, and the construction of Zessho Castle established civil engineering technology on the water.
The third photo shows a castle built in the Seto Inland Sea area in Kyoto, which was constructed by the shoguns from the eastern part of the country.
The third photo shows the high stonewalls of Iga-Ueno Castle, a strategic point on the overland route from Higashikuni to Kyoto.

This kind of stone wall construction technique is a double image of Tadao Ando’s concrete wall.
I feel like I am in a double vision of Tadao Ando’s concrete wall construction techniques. I can imagine Takatora Todo as Tadao Ando of the Sengoku period (laugh).
In a manner of speaking, he modified the terrain with architectural intent through civil engineering technology, and then concreted it as a solid wall.
I feel a sense of homogeneity, like a person who transforms the terrain with architectural intent through civil engineering techniques and concretes it as a solid wall.
On the other hand, if contemporary architects with a heightened sense of “auteurism” were given the opportunity to build a castle, what kind of castle architecture would they realize?
I fantasize about what kind of castle architecture they would create if they had the opportunity to build a castle (laughs).
Japanese people have a strong tendency to express their architectural intentions through castle construction and natural remodeling.
I am beginning to think that the Japanese are quite “sukiyoshi” in terms of their ethnicity. Now…

Posted on 5月 16th, 2022 by 三木 奎吾
Filed under: 住宅マーケティング, 歴史探訪 | No Comments »