【寿司ネタ作り・魚貝を無心に「さばく」殺生と供養】

　きのうは家族で手巻き寿司パーティ。前日の土曜日に仕入れていた札幌中央市場で購入の新鮮魚貝を朝からさばきはじめておりました。
　写真手前側から、エビ、イカ、ツブ、ホタテ、黒カレイ。そして奥にはマグロ、タコ、ホッキ、サーモン、筋子、サバなどであります。ほかに梅干し・納豆など助演者多数。
　黒カレイは前日に三枚におろして冷凍保存。そして自然解凍させる。うま味はどうもそうした方がいいように感じています。エビさんは市場で殻から剥がしているヤツを購入していた。ついそのまんま出したけれど、やはりひと手間「開いた」方が良かったようで家人が食前に気付いてくれていました、感謝。
　イカは最近北海道では不漁で、そのなかで市場になんとかあったヤツ。大ぶりで１パイ700円ほどという驚きの高価。謹んで二重に皮むきして、裏包丁を入れましたが、こうやって細長く切ると、頬張ったときに「つるん」と口の中に飛び込んでしまっていた（笑）。まぁそれはそれで興趣があって楽しかった。それでも噛みやすい、と言ってくれていたので、丹念な裏包丁は効果があったよう。
　ツブは東積丹漁協から仕入れてきたもので、自然解凍後、あれこれと包丁を使ってコリコリの食感を残しながらさばいたもの。ホタテも同漁協で仕入れてきた。タコは市場で購入してきたヤツ。足の部分１kgほどのもので吸盤部分の表情がなかなかかわいらしくて「捨てがたい」。
　マグロも津軽海峡で獲れたヤツ。大間は青森県だけれど津軽海峡の北、北海道でも水揚げはされる。大間で上がったときの値段と比べたらコスパはよいと思われます。サーモンと紅鮭の筋子は米国産のもの。地元産にこだわりたい人も多いでしょうが、北海道人としてはあんまりこだわらない部分。本州の人はどうも「原理主義」化しやすいと思います。そこそこのところで現実的に対応するのが合理的。シメサバは庶民的スーパーでの売れ筋のヤツ。
　そして最後のホッキは地元産のヤツ。１個の値段は225円で購入した。包丁を２枚の貝ガラの合わせ目に入れると「キュッ」と強烈に締め上げてくる。そこは一気に力を入れてさばいていく。貝ガラからすべての肉身をこそぎだしていくのですが、この作業はなかなかの醍醐味。
　殺生の作業になるのですが、そうした魚介類の特性を感じながら作業することで一種「対話」していると感じられる。かれらのうまさを引き出すことが、供養でもあるのだと思えますね。


English version⬇

Making sushi ingredients, mindlessly "sabaki" fish and shellfish, killing and offering.
When the knife is inserted into the shell, the hokki "screams". The knife is used to mercilessly remove the shellfish. Dialogue with creatures in the midst of killing.

　Yesterday, we had a hand-rolled sushi party with the family. In the morning, we started to cut up the fresh fish and shellfish we had purchased at the Sapporo Central Market on the previous Saturday.
　From the front, shrimp, squid, whelk, scallops, and black flounder. In the back are tuna, octopus, hokki, salmon, muscles, and mackerel. In addition, there are many other supporting actors such as pickled plums and natto (fermented soybeans).
　The black flounder is cut into three pieces the day before and frozen. Then let it thaw naturally. I feel that the umami taste is better that way. Shrimps were bought at the market already peeled from their shells. I served them as they were, but my wife noticed that it was better to "open" them before eating them, and I was grateful.
　Squid has been scarce in Hokkaido recently, but we managed to find some at the market. It was surprisingly expensive, about 700 yen per pie for a large one. I respectfully double peeled the squid and cut it with a back knife, but when I cut it into long, thin strips like this, it just "popped" into my mouth when I bit into it (laugh). Well, that was entertaining and fun. Still, he said it was easy to chew, so it seems that the careful back-cutting had an effect.
　The whelks were from the Higashi Shakotan Fisheries Cooperative Association, and after thawing naturally, I used the knife this way and that to cut the whelks while keeping their crunchy texture. Scallops were also purchased from the same fishery cooperative. The octopus was purchased at the market. The leg part weighs about 1 kg, and the sucker part has a cute expression on it, making it "hard to throw away.
　The tuna was caught in the Tsugaru Straits. Although Oma is in Aomori Prefecture, tuna is also caught in Hokkaido, north of the Tsugaru Straits. Compared to the price of tuna caught in Oma, the price is reasonable. Salmon and sockeye salmon muscles are from the United States. Many people may want to stick to local products, but as a Hokkaido native, I am not so picky. I think people in Honshu tend to be "fundamentalist". It is reasonable to be realistic about what is available there. Shime saba (mackerel) is a popular item at the common supermarket.
　The last one, hokki, was a local product, priced at 225 yen per piece. When I put the knife into the joint between the two pieces of shellfish, it tightened up strongly. Then, I cut them with all my strength at once. This process is quite a thrill for me.
　Although it is a work of killing, I feel that I am having a kind of "dialogue" with the fish and shellfish as I work with them, feeling their characteristics. I feel that bringing out the best of the fish is also a way of making offerings.
　【寿司ネタ作り・魚貝を無心に「さばく」殺生と供養】

【週末は魚たちと、見る・食べるデート（笑）】

　わたしの料理好きは小学校時代以来。男兄弟５人、姉１人という家庭環境で育った末っ子なのですが、親はバランス的にか、末っ子には女の子を希望していたそうです。生まれてきてガッカリということだったそうですが、姉がそれを不憫に思ってか、シスターボーイという1957年公開の米国映画「お茶と同情」から流行した語で「女性のような態度・容姿」みたいな弟に育って欲しい期待があったようなのです。
　そんな期待を感じてか、なぜか料理に強く興味を持って、小学校３年くらいのときにはじめて「家庭科」の授業を受けて大いに刺激されて、そこで作り方を教えられた「サラダ」を家に帰って作って見た。とくに姉と母がいたく感激して喜んでくれた。それが好奇心の出発点だったように記憶しています。
　それから幾星霜、三つ子の魂百まで、ではないのですが、日々料理の工夫大好きオヤジ（笑）に。
　最近は余市のお魚屋さん・新岡商店にチョコチョコと通ってお魚の捌きに興味津々の毎日であります。ちょうど本日は家族が集っての「手巻き寿司」パーティ企画。これも最近よく通っている札幌中央市場に行って購入しております。上の写真はその市場にあった水槽。てっきり「活き作り」用の商品かと思ったら、「あ、それはペットなんです（笑）」という店員女性のニッコリ顔。
　魚種は「ババカレイ」という魚ですが、近づいていくと、なんとシッポを振って近寄ってくる。「それはね、エサをくれると思ってよってくるんですよ」とのこと。犬のかわいい仕草で「尻尾を振る」はよく見かけるしそうされるとウレシイですが、ババカレイが、という驚きの光景。
　陸上動物、哺乳類には人間との近縁感があるので、感情というものも感じますが、さすがに魚までは想像力が及ばなかった。しかし、市場などに通ううちにたしかに愛情の深まりは感じさせられる。人間は罪深くかれらを食べるのだけれど、それは異相だけれど愛情のひとつのカタチであるとも強く思わされる。



　ということで、きのう市場で出会った上から順に、アンコウ・ヒラメ・クエであります。クエなどは「対馬」の産地文字が見えている。日本人はこういう海生動物と長い年月の交流が基盤にあったのでしょうね。まことに姿カタチ、かわいらしい。さて、きょうは手巻き寿司食べるぞ。


English version⬇

[On weekends, fish and their date to watch and eat (laughs).
Flounder, which have been made into pets, welcome me as they dance. I process the fish and make sashimi, but at the same time I feel affection for them. Is this a contradiction in terms of killing and eating?

　My love of cooking has been with me since elementary school. I grew up in a family environment with five male siblings and an older sister, and my parents, perhaps for balance, wanted their youngest child to be a girl. His older sister took pity on him, and she had an expectation that he would grow up to be a sisterboy, a term popularized from the 1957 American movie "Tea and Sympathy," which means "having an attitude and appearance like a woman.
　Perhaps sensing such expectations, for some reason he took a strong interest in cooking, and was greatly inspired by his first "home economics" class when he was in the third grade of elementary school. My sister and mother were especially impressed and pleased. I remember that as the starting point of my curiosity.
　Many years have passed since then, and I have become an old man who loves to devise new ways of cooking.
　Recently, I have been going to a fish shop in Yoichi, Nioka Shoten, every day, and I am very interested in fish processing. Just today, my family is planning a "Temakizushi" party. I went to Sapporo Central Market, which I have been frequenting recently, to buy fish. The photo above is a water tank at the market. I thought it was a product for "Ikemakuri," but the shopkeeper's smiling face said, "Oh, that's for pets.
　The species of fish is called "baba flounder," and as I approached it, to my surprise, it approached me, wagging its tail. When you get close to the fish, it wags its tail and comes close to you, thinking that it will feed on you. The wagging tail is a cute gesture by dogs, and it is often seen and appreciated by dogs, but this is a surprising sight to see a Baba Flounder.
　I have a sense of kinship with humans when it comes to land animals and mammals, and I also feel emotions, but as expected, my imagination did not extend to fish. However, as I went to the market, I could certainly feel the depth of their affection. Although humans eat them sinfully, I strongly feel that this is a form of love, even though it is a different phase of love.

So, in order from top to bottom, they are anglerfish, flatfish, and kue (kue) that I encountered at the market yesterday. Kue, for example, has "Tsushima" in the name of its place of origin visible. Japanese people must have had a long history of interaction with these marine animals. They are really cute in shape and form. Well, today, I am going to eat Temakizushi.

【密教的な夜景・水庭ホタテ貝と対話する温室 淡路夢舞台-7】

　淡路夢舞台の夜景の白眉のような存在がガラスの表皮を持つ温室。その前庭的な水庭はその外観を反射させて宝石のようなきらめきを感じさせている。また昨日ご紹介の水底を覆うホタテ貝のささやくようなシルエットに対して、繊細な外観を浮かび上がらせている。内部の植物群が睡眠中のイキモノのような生命感の陰影をほの暗く見せてくれている。寝ているけれどなんとなくいのちの「ゆらぎ」を感じさせてくれる。
　周囲は人工的な自然復元を目指した緑地公園だけれど、まるで街中のイルミネーションのような世界が対比的に出現している。そういう環境のなかのコントラストとして有機的存在感。
　照明というものは基本的に内部の「用」に準拠した計画になるものだろうけれど、この夜景外観を見ると、むしろこのような視覚臨場体験をメインの建築機能性として計画したのではないだろうかと思わせる。
　北海道が官学民を挙げて取り組んできた断熱や気密性という建築の領域はいわば「顕教」の部分であって、安藤建築はそれに対して「密教」的な志向性を持っているのかもしれない。やはり高野山を持つ関西の地域文化性ということなのか、みたいな夜想に思わず没入する瞬間。ホタテ貝殻の諸行無常感・・・。
　これは体験からの印象という段階なんだけれど、安藤忠雄さんの建築志向性、そしてそれを深く支持する関西圏の風土性文化の基底にはそういう「雰囲気」の歴史伝統があるように思えるのですね。わたしは密教の真言宗徒なのである意味、カラダで受容する部分をもっている。
　ひょっとすると空海の目指した「高野山」世界というのは、日本人に密教的な世界観を形象化した建築群だったのかもしれない。急峻な山道をようやく通り抜けて山上の平坦地形と寺院建築群が出現する高野山は、密教的「建築」体験として日本人に深く刷り込まれているのかも。



　今回は温室の眠っている時間しか対面しなかったので内部の様子、とくに45度軸線がずれて交叉している温室内部の様子は体験できなかった。この温室のさらに奥の野外劇場とともに次回に参観してみたい。


English version⬇

Esoteric nightscape, greenhouse interacting with water garden scallops Awaji Yumebutai-7
Tadao Ando's architecture and Kukai's Koyasan Buddhist buildings. I feel that their orientations are similar. This is just an impression stage from my experience. ...

　The greenhouse with a glass surface skin is the white-hot jewel of the nightscape of Awaji Yumebutai. Its front garden-like water garden reflects the appearance of the greenhouse, giving it a sparkling appearance like a jewel. It also reveals a delicate appearance in contrast to the whispering silhouette of the scallop shells that cover the bottom of the water, introduced yesterday. The plants inside the sculpture give us a darker shadow of a sense of life, like a sleeping creature. Although they are sleeping, we can somehow feel the "flickering" of life.
　The surrounding area is a green park that aims to artificially restore nature, but it is contrasted by a world that looks like a city illumination. The organic presence of the lighting contrasts with this environment.
　Although lighting is basically planned in accordance with the "use" of the interior, this nightscape exterior makes us believe that the main architectural functionality of the building was to provide such a visually realistic experience.
　The architectural fields of thermal insulation and airtightness that Hokkaido's government, academia, and civilian sectors have been working on are, so to speak, the "manifestation" side of architecture, while Ando's architecture may have an "esoteric" orientation. I was immersed in a moment of contemplation, wondering if this is a regional cultural characteristic of the Kansai region, which is home to Koyasan. The sense of impermanence of scallop shells....
　This is just an impression from my experience, but it seems to me that there is a historical tradition of such "atmosphere" at the base of Tadao Ando's architectural orientation and the Kansai region's endemic culture that deeply supports it. I am a Shingon Buddhist of esoteric Buddhism, so in a sense, I have a part of my body that accepts this kind of atmosphere.
　Perhaps Kukai's goal of "Koyasan" was a group of buildings that embodied the esoteric worldview of the Japanese people. Koyasan, where the flat terrain on the mountain and the temple buildings emerge after finally passing through the steep mountain path, may have been deeply imprinted on the Japanese people as an esoteric "architectural" experience.

house. I would like to visit the greenhouse and the open-air theater at the far end of the greenhouse next time.

【音楽的景観・北海道の貝100万枚も無言参加 淡路夢舞台-6】

　北海道の人間からすると安藤忠雄さんは評価が分かれる存在。北海道が地域を挙げ高断熱高気密住宅という地域社会運動に取り組んで必死の時に、断熱などにはほぼ無頓着にコンクリート打ち放しで型枠から「放したあとの面の表情の美感」を追求する制作プロセス情報が伝わってくる。美感のために「ガンガン叩く」のだ、というような情報。断熱性を差し置いてこだわる箇所がそこなのか、という距離感。
　また安藤作品の住宅では施主さんは寒さに震えているという断片的なウワサを聞く。実際に熱画像撮影され暖気が「まっすぐ垂直に」上昇している写真も見たことがある。ほぼ屋外の熱環境。ちょっと別次元の熱環境空間への考え方と思わされた。
　しかし一方そういう情報とは違う印象の事実とも出くわす。たとえばこの淡路夢舞台では北海道オホーツクの缶詰工場で廃棄されるばかりだったホタテ貝殻たち100万枚が第２の命の残照をこだまさせているという。１万㎡にも及ぶ水面の底で基盤的な風景を構成している。
　北海道の自然からの重要な使者として淡路に降臨したとも受け取れる。安藤さんの設計思想がどうしてこのホタテ貝殻に注目し淡路島の地形復元の隠れた最大のホープとして採用したのか。単に自然再生の象徴としてなのか、あるいはもっと大きな意味合いがかれを動かしたのかは不明。だけど北海道人としてはある種、胸熱になる、こうした「心の仕掛け」を見せてくれる。
　違和感を持つと同時に内面に訴えてくる建築人としてのある熱いものも感じざるを得ない。まことに二律背反的・アンビバレンツ。上の写真は水底でさざめいている北海道のホタテ貝たち。「おお、オホーツクを遠く離れて新たな命を生きているのか」みたいな。


　こちらは「水庭」と名付けられた空間。水底ではオホーツクのホタテたちがはるか故郷を思って水音を和らげていると思うと、つい情感が加わってくる。そうかそういう作戦か、いいね、みたいな。破壊された自然環境を再生するのには百万枚のホタテ貝のささやきがふさわしいと思えたりする。

　水底ばかりではなく、気がつくと至る所にホタテたちが地を覆っていることに気付かされる。北海道が少しでも役立っている、このように関西の人たちのメンタルに訴求し活用されていることは本当にうれしくありがたいことだと思えてくる。


　さらにそういう水底に十字の切り込みが行われ、その「湖底」にチャペル空間がある。湖底からの光は壁面のスクリーンに十字の宗教造形として反映されている。ゆらぎを感じさせるそういう造形感覚は、コンクリートという人工そのものの素材を使いながら、なお、自然を強く意識させてくれる。
　関西圏と安藤建築作品、違和感と同時にやっぱり強い親近感（笑）。


English version⬇

[Musical landscape, 1,000,000 shells from Hokkaido also silently participate in Awaji Yumebutai - 6
A million scallop shells from Okhotsk, far from their hometown, demonstrate their fundamental power in the restoration of nature in Awaji. A heart-warming exchange between the Kansai region and Hokkaido. ...

From the perspective of people in Hokkaido, Tadao Ando's reputation is divided. At a time when Hokkaido was desperately trying to create highly insulated and airtight housing as a regional social movement, he was almost indifferent to thermal insulation and the like, and was pursuing the "aesthetic expression of the surface after it is released" from the formwork by leaving the concrete untouched. The information is like "pounding with a gun" for the sake of beauty. The sense of distance between the two, as if the insulating properties were not a priority.
　We also hear fragmentary rumors that the owners of Ando's houses are shivering from the cold. I have actually seen a photo taken by thermal imaging showing warm air rising "straight and perpendicular" to the house. Almost an outdoor thermal environment. It seemed to me that this was a way of thinking about the thermal environment space in a different dimension.
　On the other hand, however, I also came across some facts that gave me a different impression from such information. For example, at Awaji Yumebutai, one million scallop shells that were discarded at a canning factory in Okhotsk, Hokkaido, are now reverberating with the afterglow of a second life, forming a fundamental landscape at the bottom of a 10,000 m2 water surface. It could be taken as an emissary from the nature of Hokkaido descending to Awaji. It is unclear why Mr. Ando's design philosophy led him to focus on scallop shells as the greatest hidden hope for the restoration of Awaji Island's topography, simply as a symbol of nature's rebirth, or whether a larger meaning moved him. But as a Hokkaido native, he shows us this kind of "trick of the mind" that makes us feel a certain kind of excitement.
　At the same time that I feel a sense of discomfort, I can't help but feel a certain passion as an architect that appeals to my inner self. It is truly a dichotomous and ambivalent work. The photo above shows scallops in Hokkaido, which seem to be rustling at the bottom of the water. It is as if to say, "Oh, they are living a new life far away from Okhotsk.

This is a space named "Water Garden. The thought that the scallops of Okhotsk are softening the sound of the water as they think of their faraway homeland at the bottom of the water just adds to the emotion. I like that kind of strategy. The whispering of a million scallops seems like a fitting way to restore the destroyed natural environment.

Not only at the bottom of the water, but everywhere you notice scallops covering the ground. It makes me feel very happy and grateful that Hokkaido is helping, even if only a little, to appeal to the mentality of people in the Kansai region and to be utilized in this way.

In addition, a cross is cut into the bottom of such water, and the chapel space is located at the "bottom of the lake". The light from the bottom of the lake is reflected on the wall screen as a religious form of a cross. This sense of form that evokes a sense of fluctuation makes us strongly aware of nature, even though concrete, a man-made material, is used.
　The Kansai region and Ando's architectural works are both uncomfortable, but at the same time, there is a strong sense of affinity (laugh).

【安藤忠雄氏構想スケッチと建築群 淡路夢舞台-5】

　ホテルを出て夢舞台の公園地域に向かう手前には、「淡路夢舞台の歩み」と題した経緯の説明コーナー展示がある。そこにはたくさんの「構想スケッチ」が展示されています。建築設計者として安藤忠雄氏が明記されているので、こうしたスケッチ群はかれの描画であることはあきらか。設計者のスケッチは完成形の建築の構想過程を明示してくれるので「思い」が伝わってきやすい。
　この夢舞台建築群とのわたしの対話時間はおおむね3時間ほどとわずかな時間だったので、現地では十分に対比的に参観することはできませんでした。しかし、このように事後に資料としての写真などで跡づけることで、思考の工程を思い描きやすい。スケッチは基本着想をわかりやすく伝えてくれますね。逆に現場でリアルに感じる建築の印象と作り手側のイメージ・想像力が明示されることで強く印象に残る。
　以下いくつかの建築群の紹介文。

１　楕円フォーラム〜楕円形の２重の壁の間を交叉する階段やスロープ、外部から貫入するコロネード。内部の大階段と水盤などで構成される。動線の結節点としてそれらの間を通るうちに見え隠れする内外部のさまざまな風景が、そこで行われるであろうイベントと共に来訪者に予期せぬ刺激をもたらす。


２　空庭〜斜面に埋め込まれた立方体のなかに連続する階段状の広場を内包する。壁に落ちる光と影、立方体のフレームで切り取られた風景などが抽象的な非日常空間を作り出す。野外イベントや彫刻展などにも対応可能な広場として計画されている。


３　百段苑〜約4.5m角の花壇が百段、敷地内外のどこからもよく見える急勾配の敷地に添うように埋め込まれる。巨大な階段と水の流れは山から海へと感覚的な連続性を生み出し、単純な幾何学形態が連続する非日常的な光景に彩りを添える。

　ということで建築群写真集的な展開になってきたのですが、チェックポイントは多数だったので、コンクリート打ち放し公園的な様子を明日まとめてみたいと思います。


English version⬇

Tadao Ando's Conceptual Sketch and Architectural Group Awaji Yumebutai-5
A park-like open-air architectural complex with fair-faced concrete. Reclaimed green space and intentional concrete. A space of musical contrast. The space of musical contrasts.

Before leaving the hotel and heading toward the Yumebutai park area, there is a corner exhibit titled "History of Awaji Yumebutai" that explains the history of the project. Many "conceptual sketches" are displayed there. Since Tadao Ando is listed as the architect, it is clear that these sketches are his drawings. The designer's sketches clearly show the conceptual process of the completed architecture, so it is easy to get a sense of his "thoughts".
　Since my time to interact with the Yume Butai buildings was limited to only about three hours, I was not able to visit the site to fully contrast the buildings. However, by tracing the process of my thinking with photographs and other materials after the event, it was easy to envision the process of my thinking. The sketches convey the basic conception in an easy-to-understand manner. On the other hand, the impression of the architecture felt realistically at the site and the image/imagination of the creator's side are clearly indicated, which leaves a strong impression on the viewer.
　Below are introductions to some of the architectural groups.

1 Oval forum to elliptical double-walled intersecting stairs and ramps, colonnades penetrating from the outside. It consists of an interior grand staircase and a water basin. The various landscapes of the interior and exterior that appear and disappear as visitors pass between them as nodes of the flow line, together with the events that will take place there, will provide unexpected stimulation to visitors.

2 Empty Garden - A series of staircase-like plazas are contained within a cube embedded in the slope. The light and shadows falling on the walls and the landscape cut out by the frame of the cube create an abstract, extraordinary space. The plaza is designed to accommodate outdoor events and sculpture exhibitions.

3 Hyakudanen - One hundred lower steps of approximately 4.5m square are embedded to accompany the steep slope of the site, which is clearly visible from everywhere inside and outside the site. The huge steps and the flow of water create a sensory continuity from the mountains to the sea, and add color to the extraordinary scene of a series of simple geometric forms.
　So it has developed like a collection of architectural group photos, but there were numerous checkpoints, so I will summarize the concrete park-like appearance tomorrow.