【大雪直撃（泣）のなかの新年本格始動】

昨日10日より通常業務が開始という会社は多いだろうと思います。わたしはちょっと札幌を離れていたのですが、昨日帰還。いきなりの大雪の風景が出迎えてくれました（泣）。
知人の北海道内の住宅研究者のTさんからは住宅系時事ネタ復帰へのブロックサインも出ていました。北海道の住まいと暮らしにとって「雪との付き合い方」は永く続くテーマ。札幌は年間積雪が６ｍを超えるという世界で稀な多雪地域の大都市圏。参考までに「札幌を東京地域に重ねたら」地図が以下。

〜https://hokkaido.press/sapocan/より引用。〜
東はほぼ千葉市近くまで及び、西は横浜市をも飲み込む勢い。さらに北はさいたま市を包囲している。関東を動き回るときこういうルートで動くと、高速を使っても相当の時間が掛かる。渋滞まで計算したら丸１日程度、移動するのに掛かるのではないか。これほどに都市面積がデカいので「除雪」のために費やさなければならない費用コストが巨大。この冬はそう大きな降雪がなく、やや安心していたのではありますが、そうは問屋が卸してはくれない。

なんですが、わが家の周辺には夜の間に除雪が来てくれて、ご覧のようなスッキリ感であります。札幌を離れていたけれど建物周辺の雪処理も家人スタッフがやってくれていて感謝であります。罪滅ぼしにこれから雪処理を一生懸命やっていきたいのですが、チョコチョコと出張予定も入ってくる。そうするとその日程を狙ったように降雪があるのが困ったものなんですけど・・・。


さてこの除雪費用について、なんとかコスト削減を図っていくのが札幌市のサスティナビリティ優先度高めテーマ。市民生活の利便性と除雪費用の費用対効果を見定めて安定的な着地点を展望する必要がある。現状では合計で215.8億円程度掛かっているのですね。最近話題になっているコスト削減策というのは、徹底的に除排雪するのではなく「ほどほどの圧雪状態」で「やりすごそう」という作戦。
昨年あたりから市民の話題になってきているのですが、この施策も運用がなかなか難しい。タイミングとバランス配分次第では市民からの苦情爆発も避けられないのであります。

予報では本日から週末に掛けて今度は気温高めなんだとか。そうすると今度は道路面の圧雪が「グチャグチャ」雪に変貌する可能性が高い。今年も忘れずやってきた大雪さん、お久しぶりであります。まぁ切っても切れない関係なので気長に末永いお付き合い。なまあたたかく、よろしくであります（笑）。


English version⬇

The New Year started in earnest in the midst of a heavy snowstorm.
General Winter took advantage of the moment when I was away from Sapporo for a little while. We will welcome him warmly this year as well. The New Year is just around the corner.

I am sure that many companies have started their normal business operations since yesterday, the 10th. I was away from Sapporo for a while, but returned yesterday. I was suddenly greeted with a heavy snow scene (tears).
Mr. T, a housing researcher in Hokkaido, who is an acquaintance of mine, gave me a block sign to return to the housing-related current affairs. For housing and living in Hokkaido, "how to deal with snow" is an enduring theme. Sapporo is a metropolitan area with an annual snowfall of over 6 meters, which is rare in the world for a metropolitan area with heavy snowfall. For reference, the map below shows Sapporo superimposed on the Tokyo area.
To the east, it extends almost to Chiba City, and to the west, it is threatening to swallow Yokohama City. It also encircles Saitama City in the north. When moving around the Kanto region along these routes, it takes a considerable amount of time even if you use the expressway. If traffic jams are included in the calculation, it would take about a full day to travel around. The cost of "snow removal" is huge for such a large city. We were somewhat relieved that there was no significant snowfall this winter, but that is not the case with us.

However, the snow plows came to the area around our house during the night, and as you can see, it is very clear. Although I was away from Sapporo, my wife's staff took care of the snow around our building, and I am very grateful to them. I would like to make up for my sins by doing my best to clean up the snow from now on, but I also have some business trips coming up. I am also planning to go on a few business trips, but it's a problem that the snow falls on the same dates as my business trips....

Now, the city of Sapporo's sustainability priority theme is to somehow reduce the cost of snow removal. It is necessary to determine the cost-effectiveness of snow removal costs in relation to the convenience of citizens' lives, and to look for a stable landing point. Currently, the total cost is about 21.58 billion yen. A cost-cutting measure that has been talked about recently is the strategy of "getting by" with "moderately compacted snow" instead of thorough snow removal.
This has been a topic of conversation among citizens since last year, but it is also quite difficult to implement this measure. Depending on the timing and the distribution of the balance, an explosion of complaints from citizens may be inevitable.

According to the forecast, the temperature will be higher from today through the weekend. If this happens, there is a high possibility that the compacted snow on the road surface will turn into "squishy" snow. It has been a long time since we have had a heavy snowfall this year. We are inseparable, so please be patient with us for a long time to come. I wish you a long and fruitful relationship with us.

【「町の鍛冶屋」ふいごも休まず 江戸期・房総町家-４】

唱歌で「村の鍛冶屋」という歌が歌われていた。あれは江戸期を過ぎて明治になって国民皆教育制度が始まったときに音楽の題材として取り上げられたもの。このブログの前シリーズでも「鍛冶屋」は取り上げたが、この時代までは確実にこのように庶民の暮らしのなかに存在していたのだ。
歴史的には日本列島に水田農耕が導入された3000年前くらいから、鉄製農具は産業利器として欠かせない存在であり補修も含めて鍛冶屋はきわめて枢要な社会的存在だっただろう。音楽唱歌を定めたとき日本人として、この生業を外すことは常識では考えられなかったのだと思う。
唱歌での謳われ方も、非常に活動的で「活気」そのものの社会存在として活写されていた。「ふいごも休まず」という一生懸命さは日本社会のダイナミズムの象徴でもあったのだろうか。
農機具は毎日のように使用するものであり、相手にする田畑から石などが露出してきて刃先が欠けるなどは日常的に発生しただろう。高価だったことが自明なその農具は人びとの命とくらしにとってかけがえのない存在。村の鍛冶屋はその「命綱」として有用だった。子どもたちにとってもワクワクする作業ぶりだっただろうし、またそういう職人仕事の見事さにこころが奪われてもいただろう。おとなの人間の職業としてリスペクトを強く感じさせてくれる存在だった。

この房総のむらではひとつの「町家」として展示され、また写真のように実演もされているので子どもたちを中心にたくさんの見物を集めていた。鉄製品を加熱して加工しやすいようにして、叩いて成形していく。その変形していく様子は、役立つものが目に見えて生産されていくプロセスを目に焼き付けさせる。
職人さんの周りにはたくさんの「依頼品」が持ち込まれていて、「ああ、あれはこんなふうに傷んでいるんだ」「どうやって直していくのだろう」というように製造補修の「想像力」を大いに刺激してくれる。そしてそれが目の前で直されていく。自分の想像通りのプロセスであれば「そうかやっぱり」と納得できるし、意外な補修がされていくと「おお、こんな考え方、やり方の方が合理的なんだ」というように社会教育されていく。
こういう社会教育には教科書はたぶん意味がない（笑）。また教えられたことについてテストの点数評価もできにくいだろう。職人さんには独特のスタイルがあり、そのひとなりの合理性根拠があってやり方はたぶん千差万別。ただ目的に対して真摯に向き合っていく生き方とか姿勢とかが、見る者に伝わっていくものだろう。子どもたちはそういう大人の姿を見て、さまざまにこころでピンナップしていく。いわばこころを育てる教育なのだろうか。


English version⬇

The town's blacksmith" and "fugo (blowtorch)" never rests.
The wisdom and ingenuity of adults who provided social educational opportunities for children from the Edo period to the early Showa period. It conveys the importance of being useful to others.

The song "The Village Blacksmith" was sung in Shoka. That was taken up as a subject for music when the universal education system started in the Meiji era after the Edo period. The "blacksmith" was also discussed in the previous series of this blog, and up until this time, it certainly existed in the daily lives of the common people in this way.
Historically, iron agricultural tools were indispensable as industrial tools from around 3,000 years ago when rice paddy farming was introduced to the Japanese archipelago, and the blacksmith, including repair work, was probably an extremely important social presence. When the Japanese people wrote the musical shoka, it would have been unthinkable to exclude this occupation from their lives.
The way it was described in the shoka was also very active, and depicted a social existence of "vitality" itself. The "Fugo mo mo yasumu" (Never rest, no matter how hard you work) may have been a symbol of the dynamism of Japanese society.
Farm machinery was used daily, and chipping of the cutting edges would have occurred on a daily basis due to exposure to stones and other debris from the fields they were working in. It is obvious that these expensive farming implements were irreplaceable for people's lives and livelihoods. The village blacksmith was useful as a "lifeline. The work must have been exciting for the children, and they must have been fascinated by the beauty of such craftsmanship. It was an existence that made me feel a strong respect for it as a profession for adults.

At this Boso no Mura, it was displayed as a single "machiya" (townhouse) and was also demonstrated as shown in the photo, attracting many spectators, especially children. Iron products are heated to make them easier to process, and then beaten and shaped. The deformation of the products makes the process of producing useful things visible to the eye.
Many "commissioned products" were brought in around the craftsmen, which greatly stimulated the "imagination" of manufacturing repair, such as "Oh, that is damaged like this," and "I wonder how they will fix it. And then, it is repaired right in front of my eyes. If the process is as I imagined, I am convinced, and if the repair is done in an unexpected way, I am socially educated to think, "Wow, this way of thinking and doing things is more rational.
Textbooks are probably meaningless for this kind of social education (laughs). It would also be difficult to evaluate test scores on what was taught. Craftspeople have their own unique styles and rationale, and their methods probably vary widely. However, the way of life and attitude of sincerely facing one's objectives will be conveyed to those who see them. Children will see such an adult figure and pin up their hearts in various ways. In other words, it is an education that nurtures the heart.

【店舗POP広告「木工屋-2」 江戸期・房総町家の賑わい-3】

古民家でも商家となると現代の資本主義的なビジネス感覚と相似するカタチがみえてくる。写真は「木工屋」の店先・隅柱に掛けられた「下駄」のPOPと先日紹介の「めしや」の看板。昨日「樽つくり」の様子も見たけれど、木を使って造作することは生活に密着した手工業だった。化学素材が出現するより前の時代には、木のような自然素材が生活領域すべてをほぼ覆っていた。化学素材でのものづくりでは必然的に工業化された集中生産が進展し、一般社会からの「疎外」が当たり前になる。現代生活での日常必需品では手づくりというのはむしろ少数派で、大部分はどこで誰がつくっているか想像力が及ばないのが普通。言われてみてはじめてそれが他国でつくられていることを知るのが一般的。
一方で木のような自然素材の日用品が主体の江戸期までの社会では、それこそ製造業が「家内制」であって、需要地域に深く根ざして存在していた。江戸期までは履物といえば下駄が主流であっただろうから、このようなPOPが木工の主用途を表現したのだろう。「なんでも木で作るモノならつくりますよ」というメッセージが伝わってくる。
わたしは昭和中期に生まれた年代だけれど、都市居住ではこのような「◎◎屋」という存在が日常語として頻繁に使われていた。それが街のランドマークでもあり、向こう三軒両隣のような範囲でふつうの空気感として存在していた。八百屋・魚屋など生業が明確な存在が街の表情を形成していた。それがスーパーというような流通形態が主流になって企業規模が拡大していって「近代化」が進んだ。こういったありようにはノスタルジーが感じられ、独特の人間くささも薫っている。
こういったPOPの表現にはわかりやすさと同時にその作り手の個性、人間性も伝わる部分があるのではないか。まるで擬人化・マンガ文化力のようなものも感じさせられる。店に入るときに、その人となりの幾分か、応答内容が予測されるものがあると思える。


街並み再現構成のカタチとしてイマドキの子どもたちにもわかりやすいように、店頭には木割りの模型とか、樽の実物展示などがされている。木造住宅でも現代では構造が隠される「大壁」的な仕上げが多いので、柱梁が直接露出している方が少数派。現代住宅で育った子どもたちにはこういった部分から「構造を知らせる」きっかけを働きかける必要もあるでしょうね。またそもそも「樽」などという実物を見る機会もほとんどないだろう。化学素材製ではないモノの個性の豊かさというものに大いに驚いて欲しいと思う。化学素材製品のさらなる発展のためにも、その創造の原点としての自然素材の「肌ざわり・質感」というものがバネとして働くと思う。現代の子どもたちの新鮮な感受性を刺激するには、こういう機会を大人たちがもっと意識的に作って行くことが大切ではないか。


English version⬇

Store POP advertisement "Woodwork shop-2" Bustling townhouse in Bossou, Edo period - 3
Humorous POP with a strong message. The cradle of Japanese sensibility, which is connected to manga culture. Appealing to children's hearts and minds. The "Bosho Machiya-2" and "Bosho Machiya-3" are the most popular.

Even in old private houses, when it comes to merchant houses, one can see forms that resemble the capitalistic business sense of today. The photo shows "geta" POP hanging on the corner post of a woodworking shop and the signboard of "meshiya" introduced the other day. I also saw a scene of "barrel making" yesterday, and the use of wood in manufacturing was a handicraft closely related to daily life. Before the advent of chemical materials, natural materials such as wood covered almost all areas of daily life. Manufacturing with chemical materials inevitably assumes industrialized, intensive production, and "alienation" from general society becomes the norm. In modern life, handmade products for daily necessities are in the minority, and it is common for people to have no idea where most of them are made. It is only when they are told that they are made in other countries that they realize that they are made in other countries.
On the other hand, until the Edo period, when daily necessities were mainly made of natural materials such as wood, the manufacturing industry was a "cottage industry" that was rooted in the area of demand. Until the Edo period, geta (wooden clogs) would have been the most common type of footwear, so this type of POP would have represented the main use of woodworking. It conveys the message, "We can make anything out of wood.
I was born in the mid-Showa period (1926-1989), and in urban areas, this kind of "◎◎ shop" was frequently used as an everyday word. It was a landmark of the town, and existed as a common atmosphere in the neighborhoods across the street from each other. Grocers, fishmongers, and other businesses with clear lines of business formed the face of the town. Then, supermarkets and other forms of distribution became the mainstream, and the scale of business expanded, which probably contributed to the "modernization" of the town. This way of being is nostalgic, but it also has a unique humanistic flavor.
This kind of POP expression is not only easy to understand, but also conveys the individuality and humanity of the owner. It is like the power of anthropomorphism and manga culture. When you enter a store, some of the responses of the owner's personality can be predicted.

In order to make it easy for children of today's generation to understand the form of the townscape reproduction composition, models of wood splits and actual barrels are displayed in the storefront. In modern wooden houses, many of them are finished with large walls, so exposed pillars and beams are more common in the minority. It is probably necessary to encourage children who have grown up in modern houses to learn about the structure from these types of structures. In the first place, there are probably few opportunities to see actual "barrels. I would like them to be surprised at the richness of individuality of products that are not made of chemical materials. For the further development of products made of chemical materials, the "feel and texture" of natural materials as the starting point of their creation will act as a springboard. In order to further stimulate the fresh sensibilities of today's children, it is important for adults to consciously create such opportunities.

【見える製造業「木工屋-1」 江戸期・房総町家の賑わい-2】

江戸期の千葉県、房総での商家の街並み「見える化」野外博物館探訪。
現代と江戸期のいちばん大きな違いは、現代では日本の基本的な「ものづくり」の実相を日常生活的にこどもたちが体感する機会が失せていること。江戸期までの社会ではどんなものづくりも基本的にその労働ぶりが公開される機会が多く提供されていた。こどもたちは現実の街中で具体的な職人仕事を見聞できていたので「ひとの仕事」についての豊かな想像力が刺激されていた。
写真は木工についての専門職の仕事ぶりが町場ですべて公開されていた様子の再現。「樽づくり」が行われていたけれど、樽の素材の木材の加工からそれを竹のリングで「締め上げていく」工程が衆人の見守る中で行われていた。具体的な手順がわかると同時に、真剣なものづくりへの「姿勢」も子どもたちは教えられることになっていた。一心不乱に作業に取り組む様子がこどもたちに仕事への「誇り」のようなものを感受させ植え付けていったことは想像に難くない。
そういうことが基盤となって、明治以降の急速な近代工業化社会の実現に大きく与っていたのではないか。ごく自然な「国民教育」の基盤を形成していたのではないかと考えられる。上の写真で言うと、部材の形状、その管理ぶり、そしてそれが手際よく組み上げられていく手順の合理性、段取り仕事の大切さなど教えられることは大きかったに違いない。職人にとっても自分の作業工程を包み隠さずに公開しているということは、正直に生きるということにも繋がっていたに相違ない。

個人的に面白く感じていたのは、長時間の労働であり「座って」の作業であるのに竹の輪での樽の締め上げ工程でも職人さんの「力の入れ方」がムリもムダもなく見えていたこと。で、職人さんが席を外したときにその座っている椅子を撮影してみた。そうしたら案の定、微妙に前傾姿勢を継続できるような角度が付けられていて、対面する樽に対して力の入れ具合にきわめて合理的なのだということに気付かされた。おそらくこの職人さんの体格的特徴に合わせて、微細な「工夫」が積層しているに違いなく、いわば段取りについての知恵を見る者にわかりやすく伝えてくれていた。

こういった「社会教育」が各職人仕事として「商家」という場で多くの人びとに公開され共有してきたことが、職人仕事への日本社会の強いリスペクトを生み出していたのだと感じさせられる。この房総のむらの現代でも参観に訪れていた多くの子どもたちが興味深そうにその仕事ぶりを見続けていた。
ひるがえって、今日の日本社会ではどうだろうか。どうもひとの手業での知恵と工夫の伝達が疎かになって、表面的な「点数稼ぎ」的な価値感が優勢になってしまってはいないだろうか。それは社会の活力にとってどうなのだろうかと、ふと疑問を感じさせられた。


English version⬇

Visible Manufacturing Industry "Woodworker-1" Bustling Bossou Townhouse, Edo Period - 2
Craftsmen's work was open to the public in the town. It stimulated their own "devotion" and functioned as social education for the viewer. ...

Visible" open-air museum visit to the streets of merchant houses in Boso, Chiba Prefecture, during the Edo period.
The biggest difference between today and the Edo period is that today, children no longer have the opportunity to experience the reality of basic Japanese "monozukuri" in their daily lives. Until the Edo period, any kind of craftsmanship basically provided many opportunities for the public to see how the work was done. Children were able to see and hear the work of craftsmen in the real world, which stimulated their rich imagination about "people's work.
The photo shows a reproduction of a woodworking workshop where all the work of woodworking professionals was on display in the town hall. The "barrel making" was being performed, and the process of processing the wood for the barrels and "tightening" them up with bamboo rings was being carried out under the watchful eyes of the people. The children were able to understand the specific procedures and at the same time, were taught a serious "attitude" toward manufacturing. It is not difficult to imagine that the children's single-minded devotion to their work instilled in them a sense of "pride" in their work.
This may have been the foundation that contributed greatly to the rapid realization of a modern industrialized society after the Meiji era. It is thought that this may have formed the basis for a very natural "national education. In the photo above, there must have been a great deal to be taught about the shapes of materials, how to manage them, the rationality of the procedures for assembling them in an efficient manner, the importance of work arrangements, etc. For craftspeople, too, there must have been a great deal to be taught about the importance of wrapping up their work processes. For the craftsmen, the fact that they were able to disclose their work processes without concealment must have been linked to their honesty in life.

What I personally found interesting was that even in the process of tightening up the barrels with bamboo rings, despite the long hours of labor and "sitting down," I could see the craftsman's "exertion" without any unreasonableness or waste. When the craftsman left his seat, I took a picture of the chair he was sitting on. Sure enough, the chair was slightly angled so that the craftsman could continue to lean forward, and I noticed that the angle was extremely reasonable in terms of the amount of force applied to the barrels he was facing. The craftsman's fine "ingenuity" must have been layered according to his physique, and he was conveying his wisdom about the arrangements to the viewer in a way that was easy to understand.

The fact that this kind of "social education" was shared with many people in "merchant houses" as the work of various craftsmen made us feel that Japanese society had a strong respect for artisanal work. Even here in the present day village of Boso, many children who had come to observe the work of these craftsmen continued to watch with great interest.
What about today's Japanese society? Hasn't the transmission of wisdom and ingenuity through people's handiwork been neglected, and a superficial "point-scoring" sense of value has prevailed? It made me wonder how this would be good for the vitality of society.

【ファストフード全盛「めしや」 江戸期・房総町家の賑わい-1】

さてしばらく先史時代〜国家創成期の歴史ネタに没頭していましたが歴史から建築系にカムバック（笑）。基本スタンスの「古民家」系。仕事でも関東に広がりも出てきたこともあってその土地の「由縁」を知る意味合いからも関東各地域の住宅文化を探っていきたい。北海道でも「開拓の村」という100年前後と比較的新しい古民家の集合施設があります。過去の住宅からはそこに暮らしてきた先人の「息づかい」を体感することができる。現代住宅の祖型として学ぶべきポイントが大きいと言える。また全国で増えてきたこういう古民家文化展示について、それを体系的に整理整頓して現代的意味を構築するという動きも必要ではないかとも思っている。ということで今回は千葉県・房総の古民家探訪。「房総のむら」というすばらしい「民俗野外展示」施設があって探訪。そこでの古民家住宅体験より。

こちらには「商家」ゾーンが造作されていて江戸期の都市の庶民の生き様が活写される。
商家には、現代の基本条件とも思える「都市生活」ライフスタイルが凝縮されている。江戸の町人文化と地方らしい暮らし方の地域文化の両方の側面が房総にはあるでしょう。きょう見るのは江戸期の町人文化で芽生えた「ファストフード」文化。江戸は最盛期100万人を超える人口だったとされているけれど、そこには全国の農村からの人口移動があって、農家の次男三男層が都市に移住していった。

そういった人びとの食の用を満たす意味から、かけそばとか、めしやという業態が出現した。上の写真では「立ち食い」というスタイルの食事場所が提供されている。現代でこういったスタイルは都市圏生活に普遍的だけれど、やはり江戸期がその生成期だったに違いない。いわゆる「お行儀」というようなそれまでの行動規範とは違う食スタイルだったことでしょう。田舎から都市に出てきた人たちはこういう食事スタイルを見て、相当驚いたと想像できる。

立ち食いスタイルの横には「小上がり」スペースが用意され、客層の多様性に応答した客席構成。さらにこのめしやでは２階があってより落ち着いた接客ゾーンも用意されていた。正面の木格子はガラスショーケース的に通りに対してアピールすると同時に店内からその往来の賑わいを借景させてくれる。都市生活の「活気」を感じさせる。


さらに日本のPOP広告・ディスプレイのスタイルの側面からも興味深い。めしや、といういかにも「食べたいなぁ」と人に印象を与えるキャッチについて、文字の表現の仕方とか、それを訴求するカタチについて店主層は工夫を凝らしたに違いない。都市という激しい競争社会のなかで日本社会での優勝劣敗のガラガラポンが日常的に繰り返されて、このような表現が優勢になっていったのだろう。日本人が好み、惹かれるデザインという淘汰が起こっていった。


English version⬇

[Fast food flourishing "Meshiya", the bustling townhouse of Bossou in the Edo period -1
New lifestyles created by cities that welcomed surplus population from all over Japan. The first form of modern fast food is seen in the culture of merchant houses in the Edo period. ...

Well, I have been immersed in historical topics from prehistory to the founding of the nation for a while, but I am now making a comeback from history to architecture (laugh). My basic stance is to focus on "old private houses. As my work has expanded to the Kanto region, I would like to explore the housing culture of each region of Kanto from the perspective of learning about the local "history" of the area. In Hokkaido, there is a relatively new collection of old private homes, called "Kaitakunomura," which are around 100 years old. From the houses of the past, we can experience the "breath" of our ancestors who lived there. It can be said that there are significant points to be learned from them as the ancestors of modern houses. I also believe that there is a need for a movement to systematically organize and organize these old private house cultural exhibitions that are increasing in number throughout Japan, and to construct a modern meaning for them. This time, I visited an old private house in Boso, Chiba Prefecture. I visited Boso no Mura, a wonderful "folk outdoor exhibition" facility. Here is an excerpt from my experience of an old minka house there.

The "merchant house" zone was created to show the way of life of common people in the city during the Edo period.
The merchant house is a condensed version of the "urban lifestyle," which seems to be a basic requirement for the modern age. Boso will have aspects of both the Edo period townspeople's culture and the local culture of the provincial way of life. What we see today is the "fast food" culture that sprouted in the Edo period merchant culture. At its peak, Edo had a population of over 1 million people, and this was due to the migration of people from rural areas across the country, with the second and third sons of farmers migrating to the cities.

The kakesoba (buckwheat noodle) and meshiya (rice restaurant) businesses emerged to meet the dietary needs of these people. In the photo above, a "tachi-yoku" style eating place is being offered. This style of eating is universal in urban life today, but the Edo period must have been the period of its birth. It must have been a different style of eating from the conventional code of behavior known as "manners. One can imagine that people who came to the city from the countryside were quite surprised to see this style of eating.

A "small dining space" is provided next to the standing style, and the seating configuration responds to the diversity of the clientele. In addition, this meshiya has a second floor that provides a more relaxed customer service zone. The wooden latticework on the front of the restaurant is like a glass showcase for the street, and at the same time, it provides a view of the bustling traffic from inside the restaurant. It gives a sense of the "liveliness" of urban life.

It is also interesting from the perspective of Japanese POP advertising and display styles. The store owners must have been creative in the way they expressed the word "meshiya," a catch phrase that gives people the impression of wanting to eat, and in the form in which they presented it. In the fiercely competitive society of urban areas, the rattle-pong of victory and defeat in Japanese society was repeated on a daily basis, and this type of expression must have prevailed. A selection of designs that the Japanese people liked and were attracted to occurred.