【歴史建築空間での「新」建築の心得 「竹林寺納骨堂」-2】

　堀部安嗣さんは神戸市の新興住宅地での住宅プロジェクトで新住協メンバーのダイシンビルドさんの建てた住宅（神戸住宅博「ヴァンガードハウス」）で、取材させていただいたのがご縁。時系列的にはこの日本建築学会賞受賞の時期と重なっているけれど、むしろ当時は４間×４間という合理的な住宅間取りの最適解的手法の事例として取り上げていた。
　2017年に新住協の鎌田紀彦氏との対談が東京の住宅展示会で企画されて、それを取材した流れから、関西でのその実例をという企画趣旨だった。
　鎌田先生の本誌Replan（2019/3発行）「Q1.0住宅デザイン論」での堀部氏について触れた該当箇所を以下に転載。
「（堀部）３年ほど前、自分の建築の魅力はそのままに断熱気密の性能をもっと高めることができるのではないかと思い始めた。そうした設計を実践してみるとその分、住まい手が喜んでくれることがわかり、一段と設計の楽しさを実感した。」「高断熱の住宅手法についてそれが制約ではなく、設計の自由度を高め魅力的な住宅を設計することを可能にし、より施主の満足度を高めることを可能にすると言ってくれた。」
　関東以南地域で、こういう設計者の存在を強く感じられた。北海道での家づくりの作り手たちと同様の「環境」ということへの深い意味での理解が鎌田紀彦氏にも伝わったということだろう。で、その当時はそこで言われた環境とは「温熱」という側面だけと直に理解していたけれど、今回、この「竹林寺納骨堂」を参観して、認識が改められた。というのは、竹林寺という日本の建築文化の粋ともいえる伝統建築群が醸し出す空間の磁場のなかで、現代の作り手が新たに建築を造作する「心得」という意味、いわば空気感・雰囲気のような広範な意味合いとしての「環境論」を強く感じたのです。


　最初の写真のように五重塔のような人類の精神性建築資産ともいえるような建築群が作り出している空間環境に、現代の作り手があらたな建築を作るとき、自分一個の「作家性」がそれに優先するということはあり得ないというマインド。むしろ先人が作り上げてきた空間のなかでそれをリスペクトしつつ、調和させてあらたな「奥行きを作り出す」という創造性のメンタルを感じたのです。建築としての目的が納骨堂ということもあるけれど、半地下・平屋という視線レベルからもそういう姿勢が伝わってきた。
　氏のこの作品へのコメントを見ても、そのような設計態度が強く感じられる。
　ちょうど安藤忠雄「淡路夢舞台」の空間体験と、また阿波忌部氏・三木家住宅という対照を見てきたあと、この建築にめぐり会ったことは、個人的に非常に楽しい体験になったのです。


English version⬇

The "New" Architectural Spirit in Historical Architectural Space "Chikurinji Ossuary"-2
The contrast between Tadao Ando's creation of a new space for the environment as a whole and an architectural space of human spirituality. Let's take a look into the mind of the creator at that time. ...

　I had the privilege of interviewing Mr. Yasutsugu Horibe for a housing project in a newly developed residential area in Kobe City, which was built by Daishin Build, a member of Shinjyukyo (Kobe Housing Expo "Vanguard House"). Chronologically, the project coincided with the time of this AIJ Award, but at the time, I was rather covering it as a good example of an optimal solution method for a rational 4 ken x 4 ken housing layout.
　In 2017, a conversation with Norihiko Kamata of Shinjyukyo was planned at a housing exhibition in Tokyo, and the purpose of the project was to cover the actual example in the Kansai region.
　The following is a reprint of the relevant section of Mr. Kamata's article in this issue of Replan (published 3/2019), "Q1.0 Housing Design Theory," in which he mentions Mr. Horibe.
About three years ago, I began to think that it might be possible to improve the performance of insulation and airtightness while maintaining the attractiveness of my architecture. When I put such a design into practice, I found that the residents were happy with the results, and I realized how much more enjoyable it was to design." He said, "The high thermal insulation method is not a constraint, but a way to increase the freedom of design, to design attractive houses, and to increase the level of satisfaction of the client."
　I strongly felt the presence of these kinds of designers in the Kanto region and southward. I was informed that Norihiko Kamata had the same deep understanding of the "environment" as the makers of the houses in Hokkaido. At the time, I had understood environment to mean "heat," but this visit to the Chikurin-ji Ossuary has changed my understanding. I strongly felt "environmentalism" in the sense of "knowing how to create a new architecture" by a modern creator in the magnetic field of space created by Chikurin-ji, a group of traditional buildings that can be said to be the essence of Japanese architectural culture.

　　As shown in the first photo, the five-story pagoda is an architectural asset of human spirituality, and the architects have created a spatial environment in which it is impossible for a modern creator to give priority to his or her own "authorship" when creating a new architecture. Rather, I sensed a creativity to "create new depth" by respecting and harmonizing the space created by predecessors. Although the purpose of the building is to serve as an ossuary, I could feel this attitude from the level of the viewer's perspective of the half-underground, one-story building.
　His comments on this work strongly suggest such a design attitude.
　After having just experienced the spatial experience of Tadao Ando's "Awaji Yumebutai" and the contrast of the Awa Imobe and Miki family residences, coming across this architecture was a very enjoyable experience for me personally.

【2016年度日本建築学会賞作品 堀部安嗣「竹林寺納骨堂」-1】

　先日まで安藤忠雄「淡路夢舞台」探訪記を書きましたが、夫婦旅で淡路の後、徳島県・三木家住宅を参観。その後、「うだつの街」を見学。その後は徳島から一路南国土佐高知へ。忘れていたのですが、訪問先についてカミさんにはもう１件、高知市の名刹・竹林寺にある「納骨堂」もリクエストしていた。こちらは表題の通り、知人の設計者・堀部安嗣さんの2016年度日本建築学会賞。
　建築関係のメディア人間ながら北海道を基盤とする雑誌メディアとしては、本州以南地域の建築動向について耳にはするけれど現地で参観する機会というのはなかなかない。たまたま四国行脚が夫婦旅だったことで今回実現できた。
　最初の写真はお目当ての納骨堂の正面外観。この施設は当然ながら竹林寺の境内の奥まったところにある。そこに至るには山門を抜け、本堂や仏塔なども巡って行くことになる。堀部さんの設計趣旨の文章などを見ても、建築はその置かれる環境の中でいのちを得ているもの。多くの歴史的空間環境と「繋がって」存在している。そういうことで建築探訪ながら周辺の様子もルポしながら、数回に分けて探訪記としたいと思います。
　自由旅行なので仕事的に調査活動をしっかりするわけではない。事前に情報を細かく入手するような段取り仕事はしておりません。実際に建築に触れてその臨場体験をベースにして、このようにブログで書くことで追体験整理することになります。こういう記述スタイルのほうが面白みも感じ始めています。
　行って見て始めて竹林寺という古刹の高知県での存在感を知ることになる。四国八十八箇所第三十一番目の札所で、1300年の歴史を刻んでいる真言宗の寺院。高知市内南東、古くは桂浜とならび月の名所であった五台山にあります。わたしは真言宗の宗徒で、高野山参拝の経験もあるので、やはり親近感がある。南無大師遍昭金剛・・・。

　参観の当日朝は、さきに桂浜の風景にたっぷりと癒されてからの参観となりました。四国には新入社員予定者だった大学４年の９月頃に入社先の社長の運転手としてアルバイトした経験がある。四国を一周するイベントの会場巡り。
　ふしぎと食べもののこと、なんにでも柑橘ポンカンを搾って食べることが鮮烈な記憶だった。その当時から数えれば半世紀近く経っている。また元気にレンタカーを運転して巡り回っていることが、ありがたく味わい深い。
　おっと、まったく目的の建築行脚に進めない（笑）。現場体験は明日以降に。


English version⬇

2016 Architectural Institute of Japan Award for Best Work: Yasushi Horibe "Chikurinji Ossuary"-1
A representative work of architecture by Yasushi Horibe, the first residential work to be covered in the Kansai region. How does it contrast with the Tadao Ando architecture of Awaji Yumebutai? ...

I wrote about my exploration of Tadao Ando's "Awaji Yumebutai" until the other day. After Awaji on a couple's trip, we visited the Miki Family Residence in Tokushima Prefecture. After that, we visited "Udatsu no Machi" (Udatsu Town). After that, we went from Tokushima all the way to Tosa-Kochi in southern Japan. I forgot to mention that I had also requested one more place for Kami to visit, an ossuary at Chikurinji Temple, a famous temple in Kochi City. This one, as the title suggests, is the 2016 Architectural Institute of Japan (AIJ) Award for its designer, Yasushi Horibe, who is an acquaintance of mine.
　As a member of the architecture-related media, but as a Hokkaido-based magazine media, I have heard about architectural trends in the south of Honshu, but I have not had the opportunity to visit the site. We were able to do so this time because our trip to Shikoku happened to be a couple's trip.
　The first photo shows the front exterior of the ossuary we were looking for. Naturally, this facility is located in a secluded part of the Chikurin-ji temple grounds. To get there, we had to pass through the temple gate, and then around the main hall and pagoda. The architecture, as seen in Mr. Horibe's description of the purpose of the design, is a building that derives its life from the environment in which it is placed. It exists "connected" to many historical spaces and environments. Therefore, I would like to write about my architectural explorations in several parts, reporting on the surroundings as I visit the buildings.
　Since this is a free trip, I will not be doing a lot of research. We do not work to obtain detailed information in advance. I will actually touch the architecture and based on that realistic experience, I will relive and organize it by writing in this way on my blog. I am beginning to find this style of writing more interesting.
　I will learn about the presence of an ancient temple called Chikurinji in Kochi Prefecture only after I go and see it. It is the 31st temple of the 88 temples in Shikoku, and is a Shingon Buddhist temple with a history of 1,300 years. It is located southeast of Kochi City on Mount Godaisan, which, along with Katsurahama Beach, was once a famous moon viewing spot. I am a member of the Shingon sect and have visited Koyasan, so I feel a strong affinity with the temple. Namu Daishi Hensho Kongo...

On the morning of the day of the visit, I was first treated to the scenery of Katsurahama Beach. I had a part-time experience in Shikoku as a driver for the president of the company I was working for around September of my fourth year of college, when I was a prospective new employee. Touring the venue for an event that circled Shikoku.
　It was a vivid memory of fushigi, food, and squeezing citrus ponkan into everything. If I count from that time, almost half a century has passed. I am grateful that I am driving around in a rental car again.
　Oops, I can't go on to the construction trip, which is my goal at all (laughs). I'll get back to the site experience tomorrow or later.

【北海道の「貝類」8020万年の化学層序】

　昨年末に東京上野の「科学博物館」で参観した「化学層序」の展覧会。歴史好きなので地層とか地質年代的にも興味を持っております。NHK「ブラタモリ」でも番組構成で下敷きにしていますね。地質学の基本となる情報は地層の積み重なりである「層序」という概念。層序は上位ほど新しく、各地層の厚さ、堆積構造、岩石や化石の種類の違いを示す。そういう概念を「化学層序」と呼ぶのだそうです。
　そういえばと思い出すのが、不勉強極まりなかった高校時代。予習が通用しない学力テストがあって「地学」を選択したら、なんと学年トップランクの成績。個人的勉強史での唯一に近い「成功体験」（笑）。逆に考えるとそれ以来、地質は面白いと思ってこういう最新研究の成果発表に興味を持つのでしょうか。
　そういうマニアックな展示会で学ぶことで来し方行く末のコンパス感覚が得られる。人間の歴史もそういう巨視スパンの基盤上に展開しているので強く影響されている。ふむふむと勉強させていただいていたら、突然目の前に「北海道」という文字が現れて思わず目が覚めてしまった。


　「貝類」と言う生物種ととらえられる「アンモナイト」の一種「アマポンデラ・アマポンデンゼ」というイキモノは化石で確認される最新年代、約8020万年前には地球上で北海道でだけ発見されるのだそうです。
　なんでもこの化石は北海道むかわ町穂別博物館から出張してこの東京の科学博物館に来ていたとのこと。WEBで検索しても、この生物種の情報はなかなか得られない。
　一方アンモナイトは古生代シルル紀末期から中生代白亜紀末までのおよそ3億5000万年前後の間を、海洋に広く分布し繁栄した頭足類の分類群の一つ。多くの種が平らな巻き貝のような形をした殻を持っているのが特徴。・・・ということなので、やはり貝類との類縁性が強く感じられる。
　普段から北海道の魚介類には深くお世話になっている。２枚目写真のホッキ貝などはそのうま味に魅せられて、ほぼ日常的に捌いて刺身として食している。そのはるかなご先祖さまが、思わぬ場面でいきなり降臨された気分。人間は罪深く、他の生物種を食べながら生き延びてきた。食べることはイキモノを殺すことだけれど、しかし同時にいのちの共生とも感じる。輪廻転生。・・・


English version⬇

Chemostratigraphy of Hokkaido's "Shellfish" 80.2 Million Years Ago
While studying the latest research in geology, I encountered fossils of ancestors of Hokkaido shellfish. The history of the earth's shellfish, which is made clear by the texture of sashimi. ...

　At the end of last year, I visited the "Chemistry Stratigraphy" exhibition at the Science Museum in Ueno, Tokyo. As a history buff, I am interested in geological stratigraphy and geochronology, and I know that NHK's "Bratamori" also uses it as a basis for its program structure. The basic information of geology is the concept of "stratigraphy," which is the layering of strata. The higher the stratigraphy, the newer it is, indicating differences in thickness, sedimentary structure, and types of rocks and fossils in each layer. Such a concept is called "chemostratigraphy.
　This reminds me of my high school days when I was extremely ill-prepared. There was an achievement test that I could not prepare for, and I chose "geology," and to my surprise, I was ranked in the top of my class. It was the only "success experience" in my personal study history (laughs). Thinking about it in reverse, I wonder if since then I have been interested in the presentation of the results of the latest research like this because I think geology is interesting.
　Learning at such maniacal exhibitions gives me a sense of a compass for where we are going and where we are going to go. Human history is also strongly influenced by such a macroscopic span of time. As I was studying the exhibition, the word "Hokkaido" suddenly appeared in front of my eyes, and I was awakened unexpectedly.

Amapondera amapondense, a type of "ammonite" that is considered a "shellfish" species, is found only in Hokkaido on earth at the latest age confirmed by fossils, about 80.2 million years ago.
　It is said that this fossil came to the Science Museum here in Tokyo on a business trip from the Hobetsu Museum in Mukawa-cho, Hokkaido, and that information on this species is not easy to find even when searching on the Web.
　Ammonites, on the other hand, are a taxon of cephalopods that flourished and were widely distributed in the oceans from the late Silurian of the Paleozoic Era to the end of the Cretaceous of the Mesozoic Era, a period of about 350 million years. Many species are characterized by their flattened shells, which are shaped like a spiral shell. The species is strongly related to shellfish.
　I have been deeply indebted to Hokkaido's seafood, and am fascinated by the taste of hokki-gai clams, such as the one in the second photo, and eat them as sashimi almost on a daily basis. I feel as if these distant ancestors suddenly descended upon me at an unexpected moment. Humans have sinfully survived by eating other species. To eat is to kill a living thing, but at the same time, I feel that it is a symbiosis of life. Reincarnation. The reincarnation of life.

【札幌の春一番（！） 市の集中除排雪わが家周辺に出動】

　札幌の市街住宅地域では、毎年冬の終わり時期に集中除排雪が行われます。大量の除雪機車両部隊が一気投入される。２月末頃に入ります、という市からの広報があったけれどその後「順延します」という案内があって「時期については町内会広報にてお知らせします」ということだったけれど、さすがにことしはわが家周辺の「西区」地域は有数の多雪地域だったので、日程も難航していたようです。
　それが昨日、お知らせはなくいきなり朝から慌ただしい動きがあって、10時前ころから作業が開始され、昼３時頃まで徹底的・集中的な除排雪作業。
　わが家周辺は隣近所の助け合い除雪活動が機能していてそれほど交通への支障は発生しないのですが、なんといっても今年は昨年に引き続きの多雪ぶり。見上げるばかりに積み上がった雪山は２ｍを越えるレベルに達し、また壁厚も太っていた。それが徐々に道幅を狭め角地のわが家周辺では助け合い除雪でなんとか交互通行できていたけれど直線道路部分ではすべて１車線。事務所兼用なので、わが家３台分以外に周辺に駐車場を６台分契約していますがその１台分は出し入れで轍（わだち）による段差ができて難渋しておりました。
　それらの困難な状況が一気にすべて解決。



　その上、わが家の目前の場所では歩道に掛かる部分も丁寧に「掻きだし除雪」まで行っていただいた。市民として除雪に協力したいと、わが家前にどうしてもできてしまう除雪の残滓部分、固く踏み固められた雪氷を処理しやすいよう道路側に押し出そうと試みていたら、除雪車両の運転操作員の方から直接「それもこちらで全部やりますから」と申し出いただいた。まぁたぶん除雪作業のお邪魔にもなるのでしょうね（笑）。
　すぐ上の写真は網戸越しだったので、一部不鮮明かも知れませんが、重機で丁寧に歩道部分まで除雪してくれている様子。仕事とは言え、こうした作業員のみなさんの熟練ぶりには驚いております。
　
　ということで、上の方の写真のように周辺はすっかり２車線道路が復元しております。わが家は中学校の校庭に面しているのですが、そちら側の雪壁は本当に薄くに変貌。方角的に日の当たる道路側ではすでにアスファルト路面が顔を出している。まことにありがたい春一番でありました。


English version⬇

The First Day of Spring in Sapporo! The city's intensive snow removal was dispatched to the area around my house.
Sapporo is a rare cosmopolitan city with an annual snowfall of 6 meters. Every year this battle is won in the end. Every year this battle is finally won. Is this the origin of northern "optimism"? The snow

　In the residential areas of Sapporo, intensive snow removal takes place at the end of winter every year, and a large number of snowplows are deployed at once. The city announced that the snow removal would start around the end of February, but then there was a notice saying that it would be postponed and the timing would be announced in the neighborhood association's newsletter. However, as expected, the Nishi Ward area around our house was one of the areas with the heaviest snowfall, so it seems that the schedule had been difficult to schedule the event.
　Yesterday, without any notice, there was suddenly a flurry of activity from the morning, and work began around 10:00 a.m., with thorough and intensive snow removal work going on until around 3:00 p.m. The snow was removed from around our house with the help of our neighbors.
　The snow around our house does not interfere with traffic so much because of the mutual snow removal activities of neighbors, but this year's snowfall was as heavy as last year's. The snow piled up so high that we could hardly look up at it. The snow piled up to the level of more than 2 meters and the thickness of the wall was also fat. The snow gradually narrowed the road, and although we managed to get alternating traffic around our house on the corner by mutual snow removal, there was only one lane on the straight road. We have a contract for a parking lot for six cars in the vicinity of our office, in addition to the three cars at our house, and we were having difficulty getting one of the cars in and out because of the ruts in the parking lot.
　All these difficulties were resolved at once.

　　In addition, they even carefully "scraped out" the snow from the area right in front of our house, where it hung over the sidewalk. As a citizen, I wanted to cooperate in the snow removal, so I tried to push the leftover snow and ice in front of our house to the side of the road for easier disposal, but the driver of the snowplow offered to take care of it all for us. Well, I guess that probably interferes with the snow removal work, too (laughs).
　The photo above was taken through a screen door, so some of it may not be clear, but the heavy equipment was carefully removing snow from the sidewalk. I was surprised at how skilled these workers were, even though it was their job.
　
　As you can see in the photo above, the two-lane road has been completely restored. Our house faces the schoolyard of the junior high school, and the snow wall on that side has been transformed into a really thin wall. On the side of the road where the sun shines in that direction, the asphalt surface has already appeared. It was the first day of spring, for which we are very grateful.

【ホテル空間を彩る内外デザイン 淡路夢舞台-8】

　淡路夢舞台シリーズを続けましたが、写真を最初に掲載したホテルにまだ帰ってきていなかった（笑）。グランドニッコーホテル。ロビーの雰囲気は上の写真のようなもので、ふしぎなカタチのソファが迎えてくれる。２階がロビーになっていてこのソファは外からも見ることができる位置に置かれているので、たぶん特別にデザインされたものなのだろうと思えた。淡路という場所柄を考えると貝類をモチーフにしているのか、あるいは南国的な花びらをイメージしたのだろうか。思わず「座ってごらん、写真撮ってあげる」と言いたくなる（笑）。そのように「気分を盛り上げる」のが狙いでもあるでしょうから、目的には合致している。
　実際に座ってみるとそれなりの座り心地が感じられたので、作りもしっかりしていました。それに比べると階段ホールに沿って配置された２人掛けの椅子はあんまり座りたくなる感じはしなかった。デザインモチーフ的にもどういったイメージが制作動機なのか伝わりづらかった。
　こういった造作家具の場合、空間イメージとの整合性とか調和が大事。リゾートホテルの雰囲気作りには外観デザインとの整合性と「特別な空間」感を訴求する目的もあるでしょう。安藤忠雄氏の意図もある程度反映されているのでしょうね。ひょっとするとデザインはかれであるかも知れない。確認できませんでした。



　外観的にはスケッチイメージ通り。平面図ではV字的な建物配置で、その急角度部分がちょうどエントランスに当たる。このV字は淡路の海に向かっていて、一方開放された方向は陸地側になっている。客室はたぶん全室をオーシャンビューとする目的で、こういった配置計画になったのかと思われた。

　列柱コンクリートは構造的に不可欠かどうか不明ですが、パルテノン神殿のそれのように見る者への心理的なメッセージ性はあるのでしょう。なくても建築は成立はするだろうけれど、あった方が安心感がある。この建物、淡路夢舞台は阪神淡路震災を計画段階で経験しているので、そのような潜在意識的な訴求でもあるのでしょうか。
　以上で今回の淡路夢舞台探訪シリーズは終了。


English version⬇

Awaji Yumebutai - 8 - Interior and exterior design that adorns the hotel space
The hotel's interior and exterior design is decorated with a certain emotion, whether it is a shell or a tropical petal. On the other hand, the concrete columns are very Tadao Ando. Did the earthquake have a profound effect on his mind? The earthquake also had an effect on his deep mind.

　I continued the Awaji Yumebutai series, but I had not yet returned to the hotel where I first posted my photos (lol). Grand Nikko Hotel. The atmosphere of the lobby is like the photo above, with a mysteriously shaped sofa welcoming you; it seemed to me that it was probably specially designed, since the lobby is on the second floor and this sofa is placed in a position where it can be seen from the outside. Considering its location on Awaji Island, it may have been inspired by shellfish, or perhaps tropical petals. I couldn't help but want to say, "Sit down, and I'll take your picture" (laughs). The aim would be to "set the mood" in such a way, so it fits the purpose.
　When I actually sat down, I felt a certain amount of comfort, and it was well made. In comparison, the two-seat chairs placed along the stairwell did not make me want to sit in them much. In terms of design motifs, it was difficult to convey what the motive was for the production.
　In the case of this kind of furniture, consistency and harmony with the image of the space are important. The purpose of creating the atmosphere of a resort hotel would be to appeal to the sense of "special space" and consistency with the exterior design. To some extent, Tadao Ando's intentions must have been reflected in the design. Perhaps the design is his. I could not confirm this.

Externally, the building is as shown in the sketch image. In the plan, the building is arranged in a V-shape, with the entrance at the steep angle. This V-shape faces the Awaji Sea, while the open side is the land side. It is thought that this layout was chosen in order to have all guest rooms with ocean views.

It is unclear whether the colonnaded concrete is structurally indispensable, but it seems to me that, like that of the Parthenon, it must have a psychological message to the viewer. Although the architecture would be viable without it, it is more reassuring to have it. This building, Awaji Yumebutai, experienced the Great Hanshin-Awaji Earthquake in the planning stage, so perhaps it is a subconscious appeal of this kind.
This concludes the Awaji Yumebutai exploration series for this issue.