昨日は石ノ森章太郎の「デスク環境」に絞って検証してみたけれど、本日はかれが高校卒業まで過ごしていた自室空間についてです。間取り図と窓の様子などから、この部屋はおおむね細長い６畳空間であることが推認できる。上の写真が部屋の奥から入口方向を見返した全景で、視界の手前左側に「ベット」と記載されたベッドが置かれていたことがわかる。畳を縦に１枚敷いて、それが横並び６枚並列されるような空間。そのままでは短辺方向に圧迫感が生じることが容易に予測されるので、新設の「出窓空間」が外側に張り出されたと受け取れる。
　この家屋自体は詳細な建築記録を参照できてはいないけれど現在で築100年を超える建築で、この石ノ森少年の自室の内装には昭和中期の「新建材」とおぼしき市町模様の床面フロア材や、当時の先端木製品工場から出荷された合理的建材としての「ベニヤ合板」がつかわれている。新規性の高い出窓空間とあわせて見るとこの内装空間はリフォームされた蓋然性がきわめて高いと思われる。やはりきのう触れたように、父母にとって世を継いでくれる大切な長男に対して無限の愛情を結晶させた空間なのだろうと思える。日本社会を保守し続けてきた家系意識と「家」制度・民俗としての未来への「投企」の感覚か。
　「作家と住空間」電子本で探った柳田國男の武蔵野での新築住宅「喜談書屋」では、施工として竹中工務店が浮かび上がっていたけれど、宮城県には一定の建築情報人脈もあるので建築会社とその人脈性などをたどろうと思えば、当時の建築会社と職方集団なども特定できるのではないかと思っている。今現在はそこまで踏み込まないけれど、そういう面からの探究も必要があれば探ってもみたい。よりリアリティのある住宅像、建築工事像を掘り起こすことも可能だろう。

　こちらはマンガ家への飛翔を夢見続けていた少年期の石ノ森章太郎が、学校から帰ってきて自室で見ていただろう視界。６畳間から奥行きが約１ｍ弱ほど突き出た「出窓空間」が少年の心理にどのように影響を与えたのかと想像力を巡らせていた。きのう触れたように、リフォーム工事に伴ってと思われるオリジナルなデスク環境も少年の「注文」が活かされていただろうことが視認できた。隣室の父母、階下の店舗空間から平屋の和室３室にほかの家族が住んでいて自分の「背中」側にいてくれている。自分は大きな開口部に向き合いながら、マンガ家としての大きな未来を眺望していた。そのような心理洞察が自然に湧いてきていた。

English version

[Ishinomori Boy’s ‘veneer board wall’ refurbished Western-style room
Veneer walls, a floor surface with a Ichimachi pattern design and a projecting bay window space leading to a dazzling future. The artist’s ‘dreaming’ space, which must have been realised through renovation. …

　Yesterday, we focused on Shotaro Ishinomori’s ‘desk environment’, and today we will look at the space in his room where he lived until he graduated from high school. From the floor plan and the windows, it can be inferred that this room is generally a long, narrow 6-mat space. The photo above is a panoramic view looking back towards the entrance from the back of the room, showing that a bed, marked ‘bed’, was placed on the left side in the foreground of the view. The space is such that one tatami mat is laid vertically and six of them are placed side by side. As it is easily predicted that the house would be oppressive in the short side direction as it is, it can be accepted that the newly built ‘bay window space’ was overhung outwards.
　The house itself is now over 100 years old, although detailed construction records are not available, and the interior of the Ishinomori boy’s room uses flooring with a Ichimachi pattern, which appears to be a ‘new construction material’ from the mid-Showa period, and plywood, a rational construction material shipped from an advanced wood products factory at the time. Together with the highly innovative bay window space, it is highly probable that this interior space was remodelled. As I mentioned yesterday, this space seems to be a crystallisation of the parents’ infinite love for their eldest son, who will succeed them in the world. Is this a sense of ‘projection’ towards the future as a result of the family lineage consciousness and the ‘family’ system and folk customs that have continued to maintain Japanese society?
　In Kunio Yanagida’s new house ‘Kidansho-ya’ in Musashino, which I explored in the ‘Writers and Living Space’ e-book, Takenaka Corporation emerged as the construction company. I think it may be possible to identify the building companies and craftsmen’s groups at that time. We are not going that far at the moment, but if necessary, we would like to explore this aspect as well. It may be possible to uncover a more realistic image of housing and construction work.

　This is the view that Shotaro Ishinomori would have seen in his room after returning home from school, when he was a boy dreaming of becoming a manga artist, and we wondered how the ‘bay window space’ protruding from the six-mat room by less than one metre in depth would have affected his mind. As I mentioned yesterday, I could see that the boy’s ‘order’ would have been utilised in the original desk environment, which seems to have accompanied the renovation work. His parents live in the next room, and other family members live in three one-storey Japanese-style rooms from the shop space downstairs and have their ‘backs’ to him. Facing the large opening, I was looking into the great future as a manga artist. Such psychological insights came naturally to me.
　
　
　

Posted on 3月 16th, 2025 by 三木 奎吾
Filed under: 住宅取材＆ウラ話