【肉体疲労からの軽い風邪だけど・・・】

　札幌は昨日から降雪で、けさの様子は写真の通りであります。
　先週末、東京ビッグサイトでのジャパンホームショーなど参観のために出張していましたが、どうしてもあちこちと歩きまわるので、毎日の歩数計を確認すると１日１万歩以上の行動。それも東京の公共交通機関は階段の上り下りが激しいので、足腰にも負担が掛かる。その一方で加齢は順調に進んでいる。のにもかかわらず、自己認識としては若いときのママの肉体感覚でいるので、つい疲労蓄積加速。
　ということで出張終わり頃から筋肉疲労とか、のどの違和感などが出ていましたが、22日頃から軽い咳、喉の痛みを感じるようになり23日夜には熱も出てきた。しかし休日なので病院にも行けず、ようやく24日病院へ。感染症が広がって以来、久しぶりの「発熱外来」であります。
　当然ながら不特定多数の参集するジャパンホームショー参観ということから「ひょっとして」という不安があり、最初にPCR検査を受けました。で、10分後くらいに「コロナでもインフルでもありません」というご託宣がおりまして、ひと安心。
　いつもお世話になっているお医者さんからなんと漢方も含めた調剤をしていただきました。すごい、いろいろ臨床的な研究は進んでいるのだなぁと感動させられました。そういうご配慮に応えて、帰宅後はひたすら薬を飲んで横になる、寝る。と体力回復に勤めていました。で、夜半ころに目覚めたとき、「回復」感が突然、芽生えてきた。ちょっと劇的な回復感であります。

　今回のチョー久しぶりの「風邪引き」ですが、反省点としてはやはり加齢による体力の衰えを顧みない行動は、かならずしっぺ返しを食らうこと。その出張時にはトラベラーズハイの心理状態がはたらいて「なんもさ」とつい行動範囲が過重になる。「せっかく来たから、ここもあそこも」と欲張ってしまう。
　そんなこころに昨日以来の冬景色到来。
　もう、しょがないから大人しくしていろ、と天気がご託宣してくれているようです。
　しかし、喉元過ぎればと、あれこれ行動計画を考え始める。冬タイヤにも換えているし、クルマはきのうメーカーでメンテナンスもして貰ったし用意はバッチシなどと妄想を膨らませる。こういう行動派の性格の良さを生かしつつ、どうやったら落ち着いた人生ハンドリングできるか、思案投げ首中。
　
English version⬇

[I have a mild cold from physical exhaustion, but...]
I am a man of action, and I like to move from place to place. This leads to the accumulation of physical fatigue. Now, how do I control this personality? I...

It has been snowing in Sapporo since yesterday, and the picture shows what it looked like this morning.
　Last weekend, I was on a business trip to visit the Japan Home Show at Tokyo Big Sight and other events, but since I had to walk from place to place, my daily pedometer showed that I took more than 10,000 steps a day. That also takes a toll on my legs and back, as Tokyo's public transportation system is full of staircases going up and down. On the other hand, I am aging steadily. However, I am still aware of my physical condition as a young mother, and this has accelerated the accumulation of fatigue.
　So, I had been experiencing muscle fatigue and throat discomfort since the end of my business trip, but around the 22nd, I began to feel a slight cough and sore throat, and by the night of the 23rd, I developed a fever. However, since it was a holiday, I could not go to the hospital, and finally went to the hospital on the 24th. This was my first "outpatient fever clinic" in a long time since the spread of infectious diseases.
　Naturally, since I was going to attend the Japan Home Show, which was attended by an unspecified number of people, I was worried that I might have a fever, so I first took a PCR test. After about 10 minutes, I was assured that I had neither corona nor influenza, which was a relief.
　The doctor who has always taken care of me gave me a prescription that included Chinese medicine. I was impressed by the progress of clinical research. In response to such consideration, after returning home, I just took the medicine, lay down, and went to sleep to recover my strength. I worked hard to recover my strength. When I woke up around midnight, I suddenly felt a sense of "recovery. It was a bit dramatic recovery.

　It has been a long time since I had a cold, but as I reflected on this "cold," I realized that any action that does not take into account the decline in my physical strength due to aging will surely result in repercussions. When I go on a business trip, my traveler's high mentality comes into play, and I tend to overdo the scope of my activities, saying, "What the heck. I am always greedy, saying, "Since I've come all this way, I want to go here and there too.
　Then, the winter scenery arrived for the first time since yesterday.
　The weather seems to be telling me to stay quiet because there is nothing to do.
　However, I start to think about my action plan. I have already changed my winter tires, my car was serviced by the manufacturer yesterday, and I am fully prepared for the trip. I'm still thinking about how I can handle my life in a relaxed manner while making the most of my action-oriented personality.

【だんだん石に吸い寄せられていく（笑）】

　きのうは家形石棺について書きましたが、人間というのはさすがに「石器時代」という歴史発展を過ごしてきている生物種なので、石には独特の感受性があると思っています。
　家形石棺は群集墳に葬られる一般のひとびとであり、特権階級は「注文住宅」的な大規模古墳に埋葬されたけれど、どちらかというと規格住宅的な埋葬方法だったと思えた。そういう階級差、身分差というものはあったのだろうけれど、死後、石の壁、床、天井に包まれて過ごすということでは本質的に差はない。
　石を加工して使う、それも輪廻転生の願いを込めてその石造空間にいだかれて死後の世界と向き合う、というのは、人類普遍の願望憑依なのでしょう。強く納得感がある。
　写真は建築家ノーマン・フォスターによる鎌倉歴史文化交流館です。
　西欧人というのは石の建築文化のはるかな伝統を持続しているけれど、そういう空間性にはわたしも深く頷かされている。わが家はコンクリートブロックというアメリカから製法が輸入された建築材料で建てた。また、わたしの父もはじめて食品製造の蔵屋を建てたとき、このコンクリートブロックで建てた経緯がある。
　自分の建てた家について話さなければならない竣工の時、父の建てた建物と同じ構造素材であることにあらためて気付かされたことがあった。
　きっと少年時の建築体験が沈殿して、石造というものに好ましさを感じていたのだろう。
　それ以来、わが家の壁面をみながら人生時間を過ごしてきた。素地のその風合いにずっと、
「こころが吸い取られている」ような感覚を抱いている。別にオカルト志向ではありませんが、石に囲まれて「終の住み処」に至った古代のひとびとにシンパシーを感じている。
　そんな気分があって、ノーマンフォスターの建築素材へのこだわり、イタリア・ドイツという石造の建築文化が投影されたシルエット、壁面と向き合うのが好きです。これらの石材は自然そのものではなく、工場加工を施したものなのだという。写真の光沢のある部位などには硝子などの異素材も投入されている。それらが見る角度や場所によって表情を変えてくれる。
　吸い取られる、という感覚とはまた別に反射してくるような感覚も抱かせられる。きっと、いつまでもこの建物には惹き付けられ続けるのではないだろうか。
　やや諦念にも似た同意の感覚があります。しょがなく好きなのでしょう。


English version ⬇

[Gradually, I'm being drawn to the stones [laughs].
The walls of architect Norman Foster's Kamakura History and Culture Exchange Center are drawing me in. I was surprised to see such a glittering stone. You can't help but like it. ...

Yesterday I wrote about house-shaped sarcophagi, and I believe that humans have a unique sensitivity to stone because we are a species that has lived through the historical development of the "Stone Age.
　The house-shaped sarcophagi were for ordinary people buried in group burial mounds, while the privileged class was buried in large "custom-built" burial mounds, but I think the burial method was more like a standardized house. Although there may have been differences in class and status, there is no essential difference in the fact that after death, people spend their days wrapped in stone walls, floors, and ceilings.
　The use of processed stone, and the desire to reincarnate and face the afterlife in this stone space, must be a universal desire possession of humankind. It is strongly convincing.
　The photo shows the Kamakura Museum of History and Culture by architect Norman Foster.
　Westerners have a long tradition of stone architecture, and I am deeply impressed by this spatiality. My house was built with concrete blocks, a building material imported from the United States. My father also built his first food manufacturing warehouse with concrete blocks.
　When I had to talk about the house I had built, I was reminded of the fact that it was made of the same structural material as the building my father had built.
　It must have been the precipitation of my architectural experiences as a boy that made me feel a fondness for masonry.
　Since then, I have spent my life looking at the walls of my house. The texture of the bare stone has always been with me,
I feel as if my mind is being absorbed by the texture of the stone. I am not an occultist, but I feel sympathy with the people of ancient times who lived in their "final dwelling place" surrounded by stones.
　With such a feeling, I like to face the silhouettes and wall surfaces that project Norman Foster's attention to architectural materials and the stone architectural culture of Italy and Germany. These stone materials are not nature itself, but factory-processed. Different materials such as glass are also used for the glossy parts in the photo. These materials change their expressions depending on the angle and location of the viewer.
　It gives us a sense of being absorbed, but also a sense of being reflected. I am sure that this building will continue to attract me forever.
　There is a sense of agreement, somewhat like resignation. I guess I like it without a clue.

【家形石棺を見て、古代人と対話】

　本日はやや風邪気味で、のんびりした話題。
　写真は兵庫県福崎町を探訪していたときに見かけた「家形石棺」。
Wikipediaを引用すると以下の記述。〜家形石棺（いえがたせっかん）とは、古墳時代にみられる石棺の一種。蓋石が屋根形で、身は刳抜式または組合式の箱状の石棺である。蓋石の四方の傾斜部に断面長方形の縄掛突起がある。古墳時代中期後半～終末期まで長期間用いられた。末期には身に格狭間を施したり、縄掛突起に蓮華文を彫ったものもみられる。身の前面や側面に入り口を設けた横口式石棺もある。〜
　人間ってだんだんと個人の嗜好とかの世界に「帰っていく」存在ではないかと思っています。わたしの場合、加齢とともに古民家とか、昔人と対話できる機縁のようなものに強く惹かれてきている。
　最後は石だ、みたいに俗に言われますが、そういう志向性からすると石棺というものに目を奪われるのはそれなりに符合するなぁと思っています。
　飛鳥の石舞台は古墳の中身が土で被覆する前の状態でそのまま放置されたもので、蘇我氏の古墳であって、血生臭い権力抗争の残滓だとも言われるけれど、遺跡としては非常に好きであります。こんな個人的嗜好性が、刺激されるのですね。
　この写真のものは、古代での「工場生産」的なニオイが強く感じられる。強大な権力者とかの場合には大型の石棺が注文生産されて、埋葬現地近くで加工されたのだろうと想像できるのですが、それ以外の一般人たちは、このような「大量生産型」の石棺にふつうに入っていたのではないか。
　説明の文章からも「群衆墓」と記載されているので、庶民階級のひとびとの「終の住み処」になったものなのでしょう。火葬の習慣化はまだ進んでいない時期なので、こういう石棺に死者は葬られた。その人数が積層するにつれて、墓域もより広大に必要になっていった。そういう「過密化」ということもなにごとか、歴史の必然のひとつの側面でしょうね。
　こういった石棺に加工するのに適性のある石材は、たぶん生産地が限られただろうから、必要性の高い人口集積地域との間で、頻繁な情報と物流がやり取りもされたでしょう。電話やWEBのな時代、そういうことがどのように伝播したのか、興味深い。
　「今度、●ムラの誰それが死んだので」「了解しました。何日に間に合うように届けます」
　こういうコミュニケーションがどう成立していたのか、主に情報の世界で仕事してきた人間からすると、そういう臨場感が、この石棺を見ていて興味として立ち上ってきていました。ふむ。


English version⬇

A Dialogue with the Ancients
A quiet word. Traditionally, people are housed in stone houses at the end of their lives. A sarcophagus is a kind of "factory production" in ancient times. The information and logistics of this process is a source of fantasy for me. ...

Today's topic is a bit more leisurely, as I have a bit of a cold.
　The photo is of a "house-shaped sarcophagus" I saw while exploring Fukusaki Town, Hyogo Prefecture.
To quote Wikipedia, the description is as follows 〜A house-shaped sarcophagus is a type of sarcophagus found in the Kofun period. The lid stone is roof-shaped, and the body is a box-shaped sarcophagus of the gouged-out or union type. The four sides of the lid stone are sloped with rectangular rope-hanging protrusions. It was used for a long period of time from the latter half of the Kofun period to the end of the Kofun period. In the later period, the body was decorated with a narrow space between the case and the body, and some of them were carved with a lotus flower design on the rope-hanging projection. There are also side-gate sarcophagi with entrances on the front and sides of the body. 〜The first two coffins were made in the late 19th and early 20th century.
　I believe that human beings gradually "return" to the world of personal tastes and preferences. In my case, as I age, I am becoming more and more attracted to things like old houses and the opportunity to talk with people from the past.
　It is commonly said that the last thing you need is a stone, and from this orientation, I think it is fitting that I am attracted to sarcophagi.
　The Ishibutai in Asuka is a tomb of the Soga clan, and I like it very much as an archaeological site, even though it is said to be a remnant of a bloody power struggle. I like them very much as ruins, though they are said to be remnants of bloody power struggles.
　The one in this photo has a strong "factory production" smell in ancient times. I can imagine that in the case of a powerful person, a large sarcophagus would have been made to order and processed near the burial site, but other ordinary people were usually placed in such a "mass-produced" sarcophagus.
　The explanatory text also describes it as a "mass grave," so it must have been the "final resting place" of the common people. Since cremation had not yet become a custom, the dead were buried in these sarcophagi. As the number of people buried there increased, the graveyards became more spacious. Such "overcrowding" must have been one of the inevitable aspects of history.
　Since the production of stone suitable for processing into sarcophagi was probably limited, information and logistics would have been frequently exchanged between the populated areas where the need for such materials was high. In the age of telephones and websites, it would be interesting to know how such things were transmitted.
　In the age of the telephone and the Internet, it would have been interesting to see how such information and logistics were transmitted. I will deliver it in time for what date.
　As someone who has worked mainly in the world of information, I was interested to see this sarcophagus and feel the presence of such communication. Hmmm.

【戦後的ライフスタイルの起点・自動車文化】

　さて３度目くらいの訪問になった「武相荘」参観。以前に全７回のシリーズ＜第１回はこちら＞で取り上げたので、まぁ基本的にはそれで完結しているのですが、訪問の度にちょっとずつ視点が変わっていることにも気付きます。
　今回は住宅の住まい手のあるべき「自由度」と、それに対応できていた日本的「田の字型」間取りの奥行きについてまざまざと気付かされた次第。
　なんですが、戦争の開始時期とほぼ同時期に東京での暮らしからこの地に移住した白洲さんの生き方にも強く惹かれている自分がいます。「金持ちのドラ息子」（笑）出自であって欧米留学からの人脈を持っていた白洲さんには敗戦は自然な成り行きだったことだろう。
　そして吉田茂に請われて対米交渉の第一線でかれは活躍した。
　日本国内での戦争推進派とは明確に道を分かって、敗戦必至と見ていたかれはなかば隠遁する。しかし敗戦後の総理をつとめた旧英国大使の吉田茂に請われ、戦後の立て直しに奔走する。吉田とは留学生時代からの旧知の仲だった。敗戦からの復興期に、かれのようなスタンスの人間は最適だっただろう。
　現行憲法について「アメリカででも成立しない夢想的憲法」と占領軍の押しつけを批判的に語っている。占領軍のアメリカ側から「日本人で稀な原理原則を主張する硬骨漢」とみなされたという。アメリカ自身もこれが長く維持されるとは「夢想もしなかった」ものが70年以上も残っている。戦後日本は現実的に対応して冷静に復興の着地点を整理整頓していった。現実政治は一歩一歩でしか前進させられない。きれい事だけを言うのは非現実的であり民の暮らしにとって迷惑なのだ。

　一方で生活環境としては、イマドキでいえば「テレワーク」最適の居住環境を求めたようにも思われる。そういう生き方の志向には廃・農家住宅は格好の住み処を提供した。
　きのうも見たように暮らし方次第で融通無碍に千変万化する田の字間取りは「どうせ使い方はどんどん変わっていくし、手を加えていくのが自然だ」という住宅と暮らしへの透徹した達観を持っている人間からすれば、まことに環境としては最適だったのだろう。
　そして今日ではWEB接続環境というカタチで「情報の自由」も加速してきているけれど、戦前戦後期の金持ちボンボンとしての高級外車は、ときどき東京都心を訪れなければならないときに、権力中枢への情報アクセスキーとして機能した。
　たぶんこれから先の未来でも、この移動の自由は大きな領域を占めていくだろう。ビジネスはIT環境が整っていくことで居所に自由を与えたが、人類から「移動の自由」は決して奪えないだろう。たぶん始原期から人類の基本は「遊動」生活なのだと強く思う。


English version⬇

The automobile culture, the starting point of the postwar lifestyle.
People, information, labor, and mobility. These basic "freedoms" have been expanding rapidly. Both the development of telework from home and freedom of movement will continue to be aimed for in the future. The "origin of the postwar lifestyle," the automobile culture, and the "freedom of movement.

Well, this is my third or so visit to Busoso. Since we have previously covered the subject in a series of seven articles, well, that basically completes the series, but we also notice that the perspective changes a little bit each time we visit.
　This time, I was reminded of the "degree of freedom" that a homeowner should have and the depth of the Japanese "tano-shaped" floor plan that was able to accommodate this freedom.
　However, I am also strongly attracted to the way of life of Mr. Shirasu, who moved to this area from Tokyo at about the same time the war started. For Mr. Shirasu, who was a "rich man's son" (laugh) and had connections from his studies in Europe and the United States, the defeat in the war would have been a natural consequence.
　At the request of Shigeru Yoshida, he was at the forefront of negotiations with the United States.
　He had a clear path to follow with the war proponents in Japan, and he went into seclusion for a while, seeing the inevitability of defeat. However, he was befriended by Shigeru Yoshida, the former British ambassador to Japan, who served as prime minister after the defeat, and worked hard to rebuild the country after the war. Yoshida was an old acquaintance of Yoshida's from his days as a foreign student. A man with a stance like Yoshida's would have been ideal for the postwar reconstruction period.
　He is critical of the current Constitution, calling it "a dreamlike constitution that could not have been enacted even in the U.S." and saying that it was imposed by the occupying forces. The U.S. side of the occupation force regarded him as "a hard-nosed man who insisted on principles rare among Japanese. The U.S. itself "never dreamed" that this would be maintained for so long, and it has remained in place for more than 70 years. Postwar Japan responded pragmatically and calmly organized the landing site for reconstruction. Realpolitik can only move forward step by step. It is unrealistic to talk only about "pretty things," and it is a nuisance to the people's livelihood.

On the other hand, as a living environment, they seem to have sought an optimal living environment for "teleworking" in the modern sense. For this kind of lifestyle, abandoned farmhouses provided the perfect place to live.
　As we saw yesterday, the "tano-ji" floor plan, which can be changed in any number of ways depending on the way of living, was the perfect environment for those who have a thoroughgoing and enlightened view of housing and living, saying, "The way of living changes rapidly anyway, and it is natural to make modifications to the house.
　Today, "freedom of information" has been accelerated in the form of a web-connected environment, but the luxury foreign cars of the prewar and postwar rich bon vivants functioned as information access keys to the center of power when they had to visit central Tokyo from time to time.
　This freedom of movement will probably continue to occupy a large area in the future. Business has given freedom of location through the development of the IT environment, but it will never be able to take "freedom of movement" away from humankind. I strongly believe that the basis of human life has been "mobility" since the primitive times.

【家についての「生活者」目線ということ】

　〜綿密な計画を立てて、設計してみた所で、住んでみれば何かと不自由なことが出て来る。・・・作りすぎても、人間が建築に左右されることになり、生まれつきだらしのない私は、そういう窮屈な生活が嫌いなのである。田の字に作ってある農家は、その点都合がいい。いくらでも自由がきくし、いじくり廻せる。ひと口にいえば、自然の野山のように、無駄が多いのである。〜
　きのうの続きであります。上の文章はきのうも紹介したのですが、きょうのブログのテーマに強く関わる部分だと思って再掲載。
　あ、写真はこのちょっと前に書いた兵庫県福崎の「柳田國男生家」の様子の写真です。ご主人の白洲次郎さんは兵庫県出身者だということで、空間の空気感として共有性があるように思う。というか、東京とか京大阪という大都市圏に対しての兵庫県、神奈川県の対置性の共通感だろうか。この文章は白洲次郎・白洲正子のうちのどちらが書いたのかはわからない。
　さて本題に戻ると、たぶん文章表現力としては白洲正子さんが書かれたように思うけれど、夫婦の住宅観が非常によく伝わってくる部分。そしてわたし自身も、自分の家とかたくさん取材してきた経験を踏まえても、共感がつよく感じられるのですね。
　わたしも仕事上、設計者とか建築の「プロ」のみなさんと交流するのですが、そしてその使われる言語体系も一応は理解できるのですが、やはりホンネではこの白洲さんのコトバに共感する。
　日本人的な暮らし方についての血肉になっている「自由度」をわかりやすく言語化していると思うのです。田の字型の間取り、いかにも融通無碍な規格性が日本人に無限の「自分ちなんだから、自由に使う」といういわば「内心の自由」にも似た原初性を感じさせられる。
　どう使おうがこっちの勝手だという自由解放宣言のような気分を強く感じる。日本の伝統的家屋を見る度に、こういう規格性こそが日本の暮らし方の哲学を生んできたのではないかと思うのです。
　家を木材で構成する様式が標準になる社会において、その規格寸法にすなおに準拠して作って行けば、おのずと田の字型という間取りの合理性に至る。日本人はながくそういう空間で「生まれ，育ち、死んで」いったのでしょう。そういう人間の叫び声がこだましてくる。
　そういう日本的な住宅構造とそこで繰り返されてきたいとなみの奥行きが、つよく迫ってくる。


English version⬇

The "Sei-katsu-sha" Perspective on the House
If you construct a house with lumber of the planned dimensions, you will naturally end up with a "tano-ji" shape. This is a truly Japanese standard. This standardization gave freedom to the Japanese way of living. The Japanese way of living

〜Even after careful planning and designing, you will find that there will be some inconveniences when you live in the house. If you build too much, you are subject to the architecture, and I, who am not a sloppy person by nature, do not like such a cramped life. A farmhouse built in the shape of a rice paddy is convenient in this respect. I can have as much freedom as I want, and I can tinker around as much as I want. In a word, there is a lot of waste, just like a natural field. 〜The following is a continuation of yesterday's article.
　This is a continuation of yesterday's article. The above text was written yesterday as well, but I thought it was strongly related to the theme of today's blog, so I republished it again.
　The photo is a picture of the "Yanagida Kunio Birthplace" in Fukusaki, Hyogo Prefecture, which I wrote about a little while ago. The owner, Jiro Shirasu, is a native of Hyogo Prefecture, and I think there is a commonality in the atmosphere of the space. Or perhaps it is the common sense of counterpoint of Hyogo and Kanagawa prefectures to the metropolitan areas of Tokyo and Kyoto-Osaka. I am not sure which of Jiro Shirasu or Masako Shirasu wrote this text.
　Returning to the main topic, I think that Masako Shirasu probably wrote the text in terms of expressive power, but it is the part that conveys the couple's views on housing very well. And, based on my own experience of having interviewed many people about their own houses, I can feel a great deal of empathy for them.
　In my work, I interact with designers and architectural "professionals," and I can understand the language system they use, but I really feel empathy for Mr. Shirasu's words.
　I think that he has clearly articulated the "degree of freedom" that is part of the Japanese way of life. The tano-shaped floor plan, with its flexible and unrestricted standardization, gives the Japanese a sense of primordial freedom, a kind of "inner freedom," as if to say, "It's my house, so I can use it as I please.
　I feel a strong sense of a declaration of freedom and liberation, as if to say, "It's my house, so I'm free to use it however I want. Whenever I see a traditional Japanese house, I think that this kind of standardization is what has given birth to the philosophy of the Japanese way of life.
　In a society where the standard house style is to be made of wood, if one follows the standard dimensions, one will naturally arrive at the rationality of the tano-shaped floor plan. Japanese people were "born, raised, and died" in such spaces for a long time. Such cries of human beings echo in the house.
　The depth of the Japanese residential structure and the repeated patterns of the house are very powerful.