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


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

English version⬇

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

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

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

Posted on 3月 1st, 2023 by 三木 奎吾
Filed under: こちら発行人です, 日本社会・文化研究