【子ども参加の竪穴住居づくり in 前橋大室公園】

古墳と関根家住宅という前橋市の「大室公園」。
関根家住宅のとなり側にはこの古墳のまわりにかつてあった
「古代集落」としての竪穴住居が復元建築されていた。
古墳は古代社会「集落」の中核痕跡。
多くの労力がその築造にはかかわり動員されていた。
その後の社会発展の中で「ムラ」という共同体になった社会一体性が
きっと存在していたに違いない。
支配者への奴隷的絶対服従ばかりとは考えられない部分があっただろう。
農業経済を基盤として関東「新開地」にあらたな人間社会が育っていった。
それまでの関東地域の状況というのは不明だけれど、
農業土木労働によって目的的に河川水を活用して
食料生産を計画的に行っていくという文化が初めて根付いていったのだろう。
吉野ヶ里遺跡で見られるように地域豪族と農業構成員集団による開発が
組織だって運営されていった。日本社会のコア部分。
支配層の痕跡は古墳などで残っているけれど、
かれらはかれらだけで生きられたわけではない。
その支配にしたがって、日々の生産活動に従事した民人が多数いた。
地域の教育委員会としてそういう人々の思いを追体験する住まいを
子どもたちの集団参加で復元している住居がみられた。

「建設作業参加者」ということで小学生多数の名が書かれていた。
その建設作業の様子も看板に写真入りで記録保存されている。
父兄のみなさんも名前があるので親子で参加されたのでしょう。
っていうか、写真を見る限り子どもたちのために
一生懸命作業に取り組んでいるお父さんたちの労働奉仕の様子が伝わる（笑）。
子どもたちから「お父さん頑張れ」という声援がこだまして
その声に夢中で応えていることがあきらか。微笑ましい。
竪穴というのはこの「地面の掘り下げ」からすべてが始まるけれど、
これは住まいの「安定した室内気温環境」を確保する根源的目的営為。
古代の人々が地域の気候のなかでどう安定的な暮らしの場を確保したか、
子どもたちは自身とお父さんたちの身を以て体験したでしょう。
地面を掘るスコップ状の道具とその作業はいわば人類の基本労働。
親子でいっしょに作業することで「世代を繋いでいく」という
住宅というものの本質を噛みしめられたのではないだろうか。
出来上がった住居は凜としていて、
子どもたちの「作った誇り」のようなものが自然と感じられた。
「おお、すごい。よくやったなぁ」
はるかなご先祖さまたちの家づくりの苦労を体験できる機会って
なかなか得がたい体験だろうと思う。じんわり感動。


English version⬇

Children's Participation in Making a Pit Dwelling in Maebashi Omuro Park
Restoration of the pit of our ancestors. Securing a "stable indoor environment" to sustain life. Children facing the basic "use" of humankind. Children's participation in the construction of a pit dwelling.

Omuro Park" in Maebashi City is a place of ancient burial mounds and the Sekine family residence.
The Sekine family residence is located next to an "ancient village" that once existed around the burial mound.
The burial mound is a core trace of an ancient "settlement".
Kofun tumuli are the core traces of "settlements" in ancient society.
A lot of labor was involved in their construction.
In the subsequent development of society, there must have existed a social unity that became a community called "mura".
must have existed.
There must have been more than just slavish obedience to the rulers.
A new human society grew up in the Kanto region based on the agricultural economy.
Although the situation in the Kanto region up to that time is unknown
The culture of planned food production was based on the purposeful use of river water through agricultural and civil engineering labor.
The culture of systematic food production by purposefully utilizing river water through agricultural engineering labor must have taken root for the first time.
As can be seen at the Yoshinogari site, development was organized and managed by local powerful families and agricultural groups.
and agricultural groups, as seen at the Yoshinogari site. This is the core of Japanese society.
Traces of the ruling class can be found in ancient tombs, but they did not live on their own.
they were not able to live on their own.
There were many people who were engaged in daily productive activities in accordance with the ruling class.
As a local educational committee, we are restoring a house to relive the thoughts and feelings of these people with the collective participation of children.
The local board of education is restoring the houses with the collective participation of children.

The names of many "first grade elementary school students" were written as "participants in the construction work.
The construction work was also recorded and preserved on the signboard with photographs.
The names of the parents are also on the sign, so it is likely that both parents and children participated in the construction.
Or rather, the photos show that they were there for the children.
The fathers' labor service is conveyed as they work hard (laughs).
The children were cheering "Go, Dad!
It was obvious that the fathers were enthusiastically responding to the children's cheers. It was very funny.
In a pit, everything begins with this "digging of the ground.
This is a fundamental activity to ensure a "stable indoor temperature environment" for the house.
We can learn how ancient people secured a stable place to live in the local climate.
The children will have experienced firsthand how ancient people secured a stable living environment in the local climate, both themselves and their fathers.
The shovel-like tools used to dig the ground and the work involved are the basic labor of mankind.
By working together, parents and children were able to understand the essence of "passing down the generations.
I am sure that by working together, parents and children were able to understand the essence of housing, which is to "pass it on from generation to generation.
The finished house was interesting and interesting.
The children's pride in their work was evident.
The children were naturally proud of their work, saying, "Wow, that's great. You did a great job.
It must be a rare opportunity to experience the hard work of our distant ancestors in building their homes.
I think it must be a very rare experience to have the chance to experience the hard work of our ancestors in building their houses. I was deeply moved.

【民藝と世界共通ライフスタイル 「赤城型」養蚕民家-8】

民藝的建築の探訪者、早稲田大学建築科の今和次郎氏の記録に導かれて
この群馬前橋の関根家住宅を深掘り探究してみた。
寄棟型茅葺き屋根の前面部を大胆にカットして生物種としての
カイコの生態に最適適応するように「環境性能」実現に踏み込んだ住宅。
北海道の積雪寒冷条件に対し居住環境性能との格闘を開始した
北海道の家づくりとほぼ同時期にこういう民藝的住宅があった。
このことに深く思いが至っておりました。
民藝とはモノや生活雑器の方に着目されやすいと思うけれど、
各地域でのものづくりの最たるものとしての家づくりで、一棟一棟、
地域の大工たちは知恵と工夫の限りを尽くして施主の要求と格闘してきた。
用をどこまでも追い求めながら、同時に地域製造業の作り手として
評価を高めるように創意工夫と建築の美感を競い合ったのだと思う。
そのプロセスで茅葺き屋根前面部の大胆な切り落としという
独自工法の開発にまで至った。
その真摯な家づくりの姿勢に今和次郎先生は「民藝の真髄」を見出したのだろう。
北海道の家づくり、その環境性能の格闘は孤独な地域努力だったのではなく
はるかな遠雷のように違う目的ながら知恵と工夫で明治初期、
まったく新しい地平を開いていた家づくりを発掘できた思い。
物言わぬカイコから思わぬエールが聞こえてきたようで、楽しくもある（笑）。


そして住宅の手ざわりの部分でのモノの手づくり感。
現代でも「注文住宅」という呼び方で一棟一棟の住宅は
さまざまな創意工夫が込められながら作り出されているのだけれど、
この明治の職人さんたちの家づくり細部ディテールまでの
手づくり感にはまことに圧倒される。
今日の住宅ではキッチンやトイレ、そしてエアコンや暖房機器、換気装置など
大手メーカーの工業生産ラインで作られる設備が
大きな要素を占めているけれど、明治の作り手たちはそれこそ
ダイドコロ火力の火力調節、自在鉤の「小猿」まで専門職人の手づくり。
一定の家内制手工業での量産はあっただろうけれど、
細かい使い勝手の部分や現場での納まりについて責任を持っていた。
家を住みこなす住人とこういう「民具」との共感など、
そこにも民藝的な手ざわり感が感じられてほほえましい。
生活を彩る多くの道具たちも、それぞれが個性的な彩りを放っている。

現代的な世界標準的な合理性をしっかり確保しながら、
しかし一方ではひとびとの日々の暮らしとこころを豊かにさせる
民藝的なあたたかみ、ぬくもりを大切にしていくべきだと思われた。
現代・高断熱高気密の技術をベースに、民藝的発展に期待したい。
私見だけれど、北海道のブロック外断熱住宅など、
素材から断熱手法、打ち放しのような肌ざわりなど、
思わぬ部分で「民藝」要素を強く感じさせられている。＜この項、終了＞

English version⬇

Universal Lifestyle and Mingei The "Akagi-style" silkworm-farming folk house - 8
Houses are the most local asset. Mingei is difficult to define the concept of "beauty of use," but it is the core of local craftsmanship. Toward the modern Mingei house.

Guided by the records of Mr. Wajiro Kon of Waseda University's Department of Architecture, an explorer of folk-artistic architecture
I did in-depth coverage of this Sekine family residence in Maebashi, Gunma.
The front part of the hipped thatched roof has been boldly cut to optimally adapt to the ecology of the silkworm, a living species.
The front part of the thatched roof is boldly cut to optimally adapt to the ecology of the silkworm, a living organism.
The house was built at about the same time as the houses built in Hokkaido, where the Japanese struggled with the environmental performance for survival in the cold and snowy conditions of Hokkaido.
This kind of folk-art style housing existed at about the same time as Hokkaido's house building.
I was deeply moved by this fact.
Mingei is a term that tends to focus more on objects and daily utensils, but it is also a term that refers to the most important aspects of craftsmanship in each region.
However, in each region, the local carpenters worked hard to create each house one by one, using their wisdom and ingenuity to make the best of their craftsmanship.
Carpenters in each region have been wrestling with the client's demands with the utmost of their wisdom and ingenuity.
While pursuing the best use of their skills and knowledge, the carpenters of the region have also been striving to be the largest manufacturer in the region.
I think they competed with each other to enhance their reputation for originality, ingenuity, and aesthetics.
This process even led to the development of a unique method of boldly cutting off the front part of the thatched roof.
This process even led to the development of a unique construction method, which involved boldly cutting off the front part of the thatched roof.
This sincere approach to house building must have been recognized by Mr. Wajiro Kon as the "essence of folk craftsmanship.
The struggle to build houses in Hokkaido and their environmental performance was not a solitary regional effort.
It was not a solitary local effort, but rather a faraway thunderstorm of wisdom and ingenuity that opened up entirely new horizons in the early Meiji period.
I felt as if I had been shown a completely new horizon of house building in the early Meiji period.
It was as if I heard an unexpected cry from a silent silkworm, and I enjoyed it (laugh).

And the handmade feel of things in the handcrafted part of the house.
Even today, each house is called a "custom-built house.
but the handmade feeling of the details of the house
The sense of handmade in every detail of house construction by craftsmen in the Meiji era is truly overwhelming.
The handmade sense of detail and craftsmanship of these Meiji craftsmen is truly overwhelming.
In today's houses, kitchens, toilets, air conditioners, heating systems, ventilation systems, etc. are all handmade on industrial production lines by major manufacturers.
air conditioners, heating systems, ventilation systems, and other equipment made on industrial production lines by major manufacturers.
but the Meiji makers were not so much concerned with the details as they were with the
The fire control of the "daidokoro" fireplace and even the "kozaru" (small monkey), a free hook, are all handmade by professional craftsmen.
Well, there must have been a certain amount of mass production by cottage industry, but
However, they were responsible for the detailed usability of the house.
The residents who lived in the house and these "folk tools" were in sympathy with each other.
The sense of touch of folk craftsmanship can be felt in the relationship between the residents who live in the houses and these "folk tools.
Many of the tools used to add color to daily life are also unique and colorful in their own way.

While ensuring the rationality of modern global standards
On the other hand, on the other hand, there is a folk art-like warmth that enriches people's daily life and spirit.
and warmth of folk art that enriches people's daily life and spirit.
I look forward to the development of the folk art style based on modern, highly insulated and airtight technology.
In my opinion, the block-insulated houses in Hokkaido, for example, should be built in the same way.
I would like to see the development of folk art style based on modern high thermal insulation and high airtightness technology.
I am strongly impressed by unexpected "folk art" elements.

【日本人のDNA的家族専用ゾーン 「赤城型」養蚕民家-7】

この関根家の家族のための日常、ケの空間。
土間とつながる作業動線をもつダイドコ、外には井戸があって
炊事洗濯に必要な用水が確保されている。
カイコの世話のための２階への動線起点のアガリハナは一体型の板の間であり、
神棚のあるウラザシキには掘り炬燵型のテーブル。
神棚の下に中空の棚状空間があり、やや小さめだが仏壇の位置なのか。
そうだとすれば、神仏先祖たちと日々の暮らしに感謝する様子が
みえてくる光景かも知れない。
「仏さんに手を合わせてからご飯だよ」
と言われて拝礼し、ついでに神さまにもあいさつして炬燵に潜り込んで
テーブル上の食事に向かっていた様子が目に浮かんでくる。
「いただきま〜す」
土間まで開放された空間で、日々の労働からいっとき解放時間をすごす。

で、こういう「家族だけのための空間」っていうのは
この大きな関根家住宅全体の中ではごく小さな面積。
土間は本質的に農作業の場であり、この養蚕の家では板敷きの間も、
カイコのために使われることも多かったとされる。
２階は常時カイコと製糸生業のための空間。
プライベートゾーンは主に家族寝室である畳敷きのナンド６畳（押入付き）
ウラザシキ８畳、ダイドコおおむね８畳ということになる。
全部で押入も算入しても24畳、なので12坪ほどに集約される。
この空間面積でふつうは８人程度の家族全員が集っていた。
その他のオモテ座敷・コザなどはハレの場であって半ば公共的空間だった。
質素倹約に勤めながら、つねに公的な用途に備えて家を維持する、
そんな日本人のDNA的な家屋意識というものが浮かび上がってくる。
この公共への対応力、家の「奥行き」が家格を表現していた。
武家に至っては「滅私奉公」という生き方が本旨とされた。
庶民はそこまでではないが、それでも公共への帰依は存在した。
明治になって世界との対話がはじまったとき
素朴な人間欲求と個人主義価値感に基づく「経済社会」と遭遇したとき、
こういう日本社会の価値感は揺らいだに違いない。
しかし明治のスタートから第２次大戦直前までで人口規模は
約3,000万人から8,000万人ほどまで増加し、経済規模も拡大した。
欧米世界標準を受け入れることで近代国家としての成功を成し遂げた。


さてそれから戦後を迎えて以降、この世界標準的ライフスタイルは
普遍的に日本の家屋のありようを変えていっている。
葬式や法事会合などは専用施設に役割移転し、
親族でも相手の家に宿泊するという習慣は大きく廃れた。
近隣のホテル宿泊などでプライバシーへの気遣い不要に変化した。
そういう「公的交流」の場が家から失われて、
家族だけの空間が住宅のもっとも肝要な目的に変化してきている。
かつての「公共空間」のような役割空間が家から消えた後、
さて、わたしたち現代日本人はどんな意味のある空間を欲するのだろうか。
そういえばコンパクトとか、平屋という志向性は強まっている。
民家のミライが非常に興味深い・・・。


English version⬇

Japanese DNA family-only zone "Akagi-style" silkworm farm house-7
The house is about 12 tsubo in area, which is enough for a family to live together. The family strived to be thrifty and respected public space. The public sitting room space has disappeared in the modern age, but now....

Daily life for this Sekine family, ke space for the family.
The daidocho has a work flow line that connects to the earthen floor, and there is a well outside to
Outside, there is a well that provides water for cooking and washing.
Agarihana, the starting point of the flow line to the second floor for taking care of the silkworms, is an integrated board room.
The urazashiki, which houses a Shinto altar, has a kotatsu-type table.
There is a hollow shelf-like space under the altar, which is rather small, but is it the location of a Buddhist altar?
If so, it may be a scene of gratitude to the gods, Buddha, ancestors, and daily life.
If so, it may be a scene of gratitude to the gods, Buddha, ancestors, and daily life.
After praying to the Buddha, we eat our meals.
Then, after greeting the gods, I got under the kotatsu (table-top table) and went to the table to eat.
I can just picture the way they were eating their meals on the table.
Itadakimasu!
In the space that is open to the earthen floor, we spend a moment freeing ourselves from the daily labor.

This kind of "space just for the family" is a part of the whole Sekine family's house.
This "space just for the family" is a very small area of the entire Sekine family's large residence.
The earthen floor is essentially a place for farm work, and in this sericultural house, the wooden floor was often used for silkworms.
The second floor was always used for silkworms and silkworms.
The second floor is always a space for silkworms and the silk production industry.
The private zone consists mainly of the family bedroom, 6 tatami-mat nando (with a closet), 8 tatami-mat urazashiki
The private zone was mainly used as a family bedroom: 6 tatami mats for Nando (with a closet), 8 tatami mats for Urazashiki, and roughly 8 tatami mats for Daido.
The total space is 24 tatami mats, including the oshirooms, which means that the total space is about 12 tsubo.
Usually, a family of about 8 people would gather in this space.
The other areas, such as the omote-zashiki and koza-zashiki, were the "hare (formal occasions)" and were half-public spaces.
While striving to be frugal and thrifty, the Japanese always maintained their houses for public use.
This is the DNA of the Japanese sense of the house.
This ability to respond to public needs and the "depth" of the house expressed the family's status.
The samurai family was expected to live a life of "selflessness and devotion.
Although the common people were not to that extent, they still had a devotion to the public.
When dialogue with the world began in the Meiji era
When they encountered an "economic society" based on simple human desires and individualistic values, the values of Japanese society were shaken.
These values of Japanese society must have been shaken.
However, from the start of the Meiji era to just before World War II, the size of the population
However, from the start of the Meiji period to just before World War II, the population grew from about 30 million to about 80 million, and the economy expanded as well.
By embracing Western world standards, Japan achieved success as a modern nation.

Since then, after the postwar period, this world-standard lifestyle has been universally changing the way Japanese houses are built.
Since the postwar period, this world-standard lifestyle has been universally changing the way Japanese houses are built.
Funerals and memorial services have been relocated to dedicated facilities, and the custom of staying with relatives in the other's home has largely disappeared.
The custom of staying at the other party's house, even for relatives, has largely disappeared.
The custom of staying at a nearby hotel has changed so that people no longer need to worry about privacy.
The place for such "public exchanges" has been lost from the home.
The most important purpose of a house is to provide a space for the family to live together.
Now, we modern Japanese are wondering what kind of role space, like the "public space" of the past, we will be able to play after the disappearance of such space.
What kind of meaningful space will we modern Japanese desire after the role of "public space" disappears from our homes?
The trend toward compactness and one-story houses is increasing.
The minka future is very interesting...

【座敷・床の間・縁側と北海道 「赤城型」養蚕民家-６】

日本の民家を探訪して現代北海道住宅の文化ルーツを求める。
至って当然の志向性だと思うのですが、
しかし実際に探訪してみると「座敷・床の間・縁側」という
日本住宅３点セットを北海道の家はほとんど無視していることを痛感。
たぶんこのことは、日本人の生活様式がこの150年間で大変貌して
生活文化の「世界共通化」圧力が圧倒的に進行し
日本人が大切にしてきた「家意識」が希薄化したことと関わっている。
武家政権にまで至る時代では家というのは、
個人をはるかに超えた価値感であって、いわば法人格としての家格意識が
もっとも大切な価値感とされてきたことと深くつながっている。
武家は家の存続維持のために個人はいのちも捧げるものとされてきた。
戦国期の戦争で武士たちが命のやり取りをしたのは、
自分一個が死んでも、家系・家格が存続し繁栄することが無上の目的だった。
もっと言えば「武士道とは死ぬこととみつけたり」は事実だったのだ。
そのような価値感を建築的に象徴表現するのが座敷や床の間だった。
畳という日本オリジナルの床材を敷き詰めての座生活。
背筋がピンと立つという精神性重視の社会規範を育んだということか。
あるいは門などもそうした「格式材」として機能したのだろうか？

こういう家の表現空間が北海道では急激に廃れていった。
わたしなどは古い価値感の残滓が多少は残っている世代なので
寝室としては、当初畳の敷かれた部屋を用意した。
ブロック外断熱の家なので床の間のような空間もなく、
縁側のような中間領域は寒冷地住宅としてハナからムリだった。
そしてその畳寝室も数回のリフォームで消え去り今はベッド生活。
とくに戦後社会以降、世界共通の現代住生活スタイルに染まった。
知る限りこの傾向は、日本社会で普遍的に発生している。
居間にはテレビが置かれソファでくつろぎ、食事はダイニングとキッチンが
折衷された場所で椅子テーブルで取り、食事後は各自の洋室で
家族バラバラの「個人主義」として過ごす。
テレビが鎮座しているけれど、たまに好みのあうプロ野球観戦などで
家族一緒に楽しむこともある程度なのではないか。
和室は現代であるとすれば、リビングに隣接する畳空間エリアというように
かろうじて存在しているというのが一般的。

しかし日本人は本当に和室、畳、床の間などを忘却していくだろうか。
人口減少は世界的な趨勢だと言われるが、それは個人主義進化と共振現象と思う。
変化は不変、といわれるように現代の傾向がそのまま続くとも思えない。
写真のような空間性がまた復権する可能性は、さて・・・。


English version⬇

Zashiki, Tokonoma, Engawa and Hokkaido "Akagi-type" Sericultural Minka-6
From family consciousness to individualism. A device for imprinting a sense of home. It disappeared early in Hokkaido, the world's leading standard of living, but now...

Seeking the cultural roots of modern Hokkaido housing by exploring Japanese minka houses.
I think this is a perfectly natural orientation.
However, when I actually visited the houses, I realized that most of the houses in Hokkaido
However, when I actually visited the houses, I realized that most of the houses in Hokkaido ignore the three Japanese house sets, "Zashiki, Tokonoma, and Engawa.
Perhaps this is due to the fact that the Japanese lifestyle has been drastically transformed over the past 150 years, and the pressure of "universalization" of lifestyle culture has been increasing.
The pressure for "universalization" of lifestyle culture has become overwhelming, and
The "sense of home" that the Japanese have long cherished has become increasingly diluted.
In the period leading up to the samurai regime, the sense of home
The sense of family as a juridical entity, so to speak, was considered the most important value.
This is deeply connected to the fact that the sense of family status as a juridical entity was considered the most important value.
The samurai were expected to sacrifice their lives in order to maintain the family's existence.
During the wars of the Warring States period, warriors exchanged their lives for the sake of the family's survival.
The ultimate goal was to ensure the survival and prosperity of the family lineage and family status even after the death of one individual.
In other words, it was a fact that "Bushido is found in death.
The architectural symbolic expression of such values was the tatami room or alcove.
The tatami mats, Japan's original flooring material, were laid out for the sitting room lifestyle.
This may mean that the social norm of standing up straight was nurtured, placing importance on the spirituality of the people.
Or perhaps the gates also functioned as such "prestigious materials"?

This kind of expressive space in the house has rapidly fallen into disuse in Hokkaido.
I, for example, am of a generation that still retains some residuals of the old sense of values.
For the bedroom, I initially prepared a room with tatami mats.
The house is insulated outside with block insulation, so there is no space like an alcove.
The house is insulated with block insulation, so there is no space like an alcove, and an intermediate area like a porch was impossible for a house built in a cold region.
The tatami bedroom disappeared after several remodeling projects, and now we live in bed.
Especially since the postwar period, the Japanese lifestyle has been tainted with the modern lifestyle common all over the world.
As far as I know, this trend has occurred universally in Japanese society.
In the living room, people relax on a sofa with a TV, and eat at a table with chairs in a place where the dining room and kitchen are blended together.
After dinner, each family member goes to his or her own Western-style room.
After dinner, the family members spend their time in their own Western-style rooms as "individualists.
There is a television set, but the family only occasionally enjoys watching a professional baseball game together.
The TV is on, but the family may enjoy watching a favorite professional baseball game together once in a while.
In the modern era, a Japanese-style room is generally considered to barely exist as a tatami area adjacent to the living room.
However, Japanese people really do have Japanese-style rooms and tatami rooms.

However, will Japanese people really forget about Japanese-style rooms, tatami mats, and tokonoma (alcove)?
Population decline is said to be a global trend, but I think it is a phenomenon that resonates with the evolution of individualism.
As it is said that change is immutable, I do not believe that the current trend will continue as it is.
What about the possibility of a return to the spatiality of photography?

【用の美「民藝」≒性能とデザイン 「赤城型」養蚕民家-5】

養蚕は中国から日本に伝播してきた。歴史は深い。
中国では紀元前2750年頃（推定）の平絹片、絹帯、絹縄などが出土。
殷や周時代遺跡からも絹製品は発見されている。系統学的解析ではカイコは
約5000年前までに野生種「クワコ」から家畜化された。
人類史ではオオカミ⇒イヌくらいに比定できるのだろうか。
日本は桑の生育に適していたことから弥生時代には中国大陸から伝わった。
福岡県の有田遺跡（紀元前200年頃）からは平絹が出土している。
記紀には仲哀天皇（第14代）の4年に養蚕の記録。
奈良時代には全国に普及し租庸調として絹製品が税として集められた。
1871（明治4）年から、昭憲皇后によって毎年「ご養蚕」が始められた。
幕末期には画期的養蚕技術の開発・発明がなされ良質な生糸が生産された。
開国と同時に、生糸は主要な輸出品となった。
江戸期も武家の倹約令などどこ吹く風で庶民は経済中心の暮らし。
明治開国を迎え一気に世界の衣料原料先端地に躍り出たのだろう。
ムダな政治制約のない自由経済体制への移行が産業勃興を生んだ。


需要の急拡大に沿ってこの赤城型といわれる養蚕住宅が出現した。
この関根家住宅では畳部屋は３部屋でそれ以外、１階で３室、
２階はすべて板の間で、従来の寄棟屋根の正面を大胆にカットして
通気性・採光性を大胆に追究した。
そもそもが「桑の生育に適して」いた気温・気候風土条件下で
「天井から垂れ下がるクモの糸が、ほのかに揺れる」くらいの通気性が
建築需要条件として要請されたという。
地域に根ざした注文住宅制作者・大工職人たちは
「カイコの成育に適した環境性能を実現し地域景観への責任を果たす」
という作り手としてのプライドを懸けて取り組んだのだろう。
繊細なカイコの生態が求める「環境性能」実現は必須課題。
屋根を支える束柱などを寄棟屋根立ち上がり部に集中させ
カイコ育成の建物中央部では大胆に省略して開放的大空間を実現。
２階の茅屋根を大胆にカットした開口部から室内はできるだけ開放的に、
根曲がり梁の多用などで多人数での作業合理性大空間など
デザイン要素もオリジナルとして開発していったのだろう。
茅屋根素材での湿度管理や開口部の工夫での通気性確保など、
用＝環境性能をイキモノであるカイコに最適化させる工法進化を図った。
用を満たしコスト要件を満たしながらプロポーションの美感も研ぎ澄ました。
養蚕農家建築はその性能とデザインで地域らしさを創造していった。
その家づくりの営為に今和次郎氏らは「民藝的」空間性を見たのだと思う。

人の暮らしよう、カイコの生態を咀嚼して独自の環境空間を実現させた。
出来上がった空間性には強く惹き付けられるものがある。
地域を隔て明治期以降、積雪寒冷克服という必須テーマと立ち向かった
北海道の家づくりの営みは、より高次のイキモノ・ヒトが求める環境性能。
北海道では「無落雪屋根」という独自進化にも至るけれど、
この「キリアゲニケエ」には発想面での近縁性を感じさせられる。
自由な視点から地域風土への最適化を求め独自デザインを考える。
こういう作り方を「民藝的」住宅建築と強く思わされる次第。


English version⬇

The beauty of "Mingei" (folk craft) ≒Performance and Design "Akagi-type" Sericulture Minka-5
Spider threads sway faintly. Performance and design are explored to realize a delicate environmental space. Mingei" style house building is the essence of craftsmanship. ......

Sericulture was propagated from China to Japan. Its history is deep.
In China, flat silk pieces, silk belts, and silk ropes were excavated around 2750 B.C. (estimated).
Silk products have also been found at Shang and Zhou dynasty sites. Phylogenetic analysis indicates that silkworms
domesticated from a wild species, the silkworm, by about 5,000 years ago.
In the history of mankind, the silkworm can be compared to the wolf and the dog.
The silkworm was introduced from the Chinese continent during the Yayoi period, as Japan was suitable for growing mulberry trees.
Plain silk was excavated from the Arita site in Fukuoka Prefecture (circa 200 B.C.).
The Chronicles of Japan records sericulture in the 4th year of Emperor Nakai (the 14th).
During the Nara period (710-794), sericulture spread throughout the country and silk products were collected as taxes as part of the taxation system.
From 1871 (Meiji 4), Empress Shoken started "sericulture" every year.
In the late Edo period, revolutionary sericultural techniques were developed and invented, and high-quality raw silk was produced.
With the opening of Japan to the outside world, silk became a major export item.
During the Edo period (1603-1867), the common people's lives were still centered on economics, with the frugality ordinances of the samurai families blowing by.
With the opening of the country to the outside world in the Meiji era, the country quickly became the world's leading producer of raw materials for clothing.
The transition to a free economic system free of unnecessary political restrictions led to the rise of industry.

In line with the rapid increase in demand, this sericultural house, known as the Akagi type, emerged.
In this Sekine family residence, there are only three tatami-mat rooms and three other rooms on the first floor, and all the rooms on the second floor are board rooms.
The second floor is all board rooms, and the front of the conventional hipped roof was boldly cut to improve ventilation and lighting.
The front of the conventional hipped roof was boldly cut to improve ventilation and lighting.
The roof was designed under the temperature and climate conditions that were "suitable for mulberry growth" to begin with.
The air permeability of the building was required as a condition of the building demand.
The building was required to have enough ventilation so that "the spider silk hanging from the ceiling would sway faintly.
Local custom home builders and carpenters
"We are proud of our work as builders to achieve environmental performance suitable for silkworm growth and to fulfill our responsibility to the local landscape.
The silkworm's delicate ecology is a key factor in the project's success.
The delicate silkworm biology makes it essential to achieve the "environmental performance" required.
Roof-supporting columns are concentrated at the ridge of the hipped roof.
The central part of the building, where silkworms are raised, is boldly omitted to create a large, open space.
The second-floor thatched roof was boldly cut to create an opening to open up the interior as much as possible.
The use of many root-curved beams, etc., creates a large space with rationality for working with a large number of people.
The design elements were also developed as original.
The use of thatched roof materials to control humidity and the use of openings to ensure air permeability were also original elements of the design.
The construction method evolved to optimize the environmental performance for the silkworm, which is a living being.
The aesthetic sense of the proportions was also refined while satisfying the requirements for cost.
The architecture of sericultural farmhouses created a sense of community through their performance and design.
Wajiro Kon and others saw a "folk art" spatiality in this house-building activity.

They realized a unique environmental space by chewing over the way people live and the ecology of silkworms.
The resulting spatiality has a strong attraction.
The Hokkaido house-building industry, which has faced the essential theme of overcoming the cold and snowy climate since the Meiji Era (1868-1912)
Hokkaido's house-building activities are based on the environmental performance demanded by higher-order people and things.
Hokkaido has evolved its own unique style of "no-snowfall roofing.
The "Kiriage-nikee" is a close relative in terms of conception.
The design of the house is based on a free perspective, seeking to optimize it for the local climate.
I strongly believe that this way of building is "Mingei" residential architecture.