【日本のうた 古事記・万葉から文部省唱歌まで】

　みなさんはメロディだけ覚えていて「あれ、この歌の名前、なんだったっけ？」という体験はないでしょうか？　わたしは加齢とともに幼少期、小学生の頃に覚えた旋律に完全に打ちのめされている（笑）。
　そういう心理につけ込む商魂も盛んなようで、１年以上前に宿泊したリゾート系のホテルで館内ミュージックとして流れていたその楽曲がこころに焼き付いて離れなくなっていた。
　淡路島のそのホテルに「もう一回行こう」とまで思いが募っていた。ヤバい（笑）。
　それが文部省唱歌だっただろうことは強く意識に固着している。しかし曲名を思い出せない。
　この「無常感」には身もだえする。やるせなくツラい。ひとのこころをここまでもてあそぶ、うたの力に深くとらわれ続けていたのです。
　そのもだえから昨日、ついに覚醒することができた。娘がスマホからソフトを立ち上げて「父ちゃん、鼻歌を歌って」と差し出してきた。メロディは完全に脳内で復元されているので歌った。
　そうしたら「ふ〜ん、冬の歌というアンサーだわ」ということ。そこから探索を始めてようやく曲名「冬の夜」という結論にたどりつくことができた。人間、母と娘には敵わない（笑）。

● 冬の夜　童謡　作詞・作曲者　不明
１ 燈火（ともしび）ちかく　衣縫ふ（きぬぬう）母は
春の遊びの　楽しさ語る
居並ぶ子どもは　指を折りつつ
日数（ひかず）かぞへて　喜び勇む
囲炉裏火（いろりび）は　とろとろ
外は吹雪
２ 囲炉裏の端に　繩なふ父は
過ぎしいくさの　手柄を語る
居並ぶ子供は　ねむさを忘れて
耳を傾け　こぶしを握る
囲炉裏火は　とろとろ
外は吹雪

　Wikiでは以下の記述。〜文部省唱歌（もんぶしょうしょうか）とは、明治から昭和にかけて文部省（現・文部科学省）が編纂した、尋常小学校、高等小学校、国民学校及び学制改革後の小学校の唱歌、芸能科音楽の教科書に掲載された楽曲の総称である。〜
　さらに〜『尋常小学読本唱歌』およびこれを学年別に振り分けた『尋常小学唱歌』に収録された唱歌（全120曲）は、全て日本人による新作であった。当時、文部省は作詞者・作曲者に高額な報酬を払い、名は一切出さずまた作者本人も口外しないという契約を交わした。「国」が作った歌であるということを強調したかったのだとも言われる。〜
　この歌の歌詞はみごとに５・７調に貫かれている。
　明治国家がこのように唱歌を定めたことについて、わたし的には古事記、万葉集の編纂との間につよい関連性を認めざるを得ない。いま、日本語の創造ということにライフテーマとして向き合っているように思っているけれど「うた」というものにこのことは深く関わっているとも思わされる。
　そしてわたしは、こうした日本唱歌の楽曲に身も世もないことも痛感させられている。


English version⬇

Songs of Japan: From Kojiki and Manyo to Monbusho Shoka
Japan's "nation-building" had the great aspiration of "creating a unique culture. The spirit of the ancients blossomed beautifully in the Meiji era's nation-building. ...

Have you ever had the experience of remembering only the melody of a song and wondering, "Oh, what was the name of this song? Have you ever had such an experience?　As I age, I am completely overwhelmed by the melodies I remember from my childhood and elementary school days (laughs).
　It seems that there are many business people who take advantage of this kind of mentality, and the music that was played as in-house music at a resort hotel where I stayed more than a year ago has stuck in my mind.
　I was even thinking of going back to that hotel on Awaji Island. Oh no (laughs).
　The fact that it must have been a Monbusho shoka is strongly fixed in my mind. But I cannot remember the name of the song.
　This "sense of impermanence" makes me squirm. It is so painful and unbearable. I have been deeply captivated by the power of songs to play with people's minds to this extent.
　Yesterday, I was finally able to awaken from my reverie. My daughter launched a software program from her smartphone and offered it to me, saying, "Dad, hum a tune. The melody was completely restored in my brain, so I sang it.
　Then she said, "Hmmm, it's an answer, a winter song. From there, I began my search and finally came to the conclusion that the song was called "Winter Nights. Human beings are no match for mothers and daughters (laugh).

A Winter's Night Nursery Rhymes Composer unknown
1 Mother sews a garment near the light
She tells of the joys of springtime play
The children are standing in a row, folding their fingers
Counting the number of days, they rejoice with joy
The hearth fire is melting
Outside is a blizzard
2 The father ropes himself to the edge of the hearth
and tell of the past glory of the passing winter
Children lined up forget their sleep
Listening and clenching their fists
The hearth fire is melting
Outside is a blizzard

　Wiki describes it as follows 〜Monbusho shoka is the general term for songs that appeared in the shoka and performing arts music textbooks compiled by the Ministry of Education (now the Ministry of Education, Culture, Sports, Science and Technology) from the Meiji era to the Showa era (1868-1912) for elementary schools, including the vulgar elementary school, high elementary school, national school, and elementary school after the school system reform. ~ (in Japanese)
　Furthermore, all of the shoka (120 songs in all) included in the "Shoka in the Vulgar Elementary School Readers' Book" and the "Shoka in the Vulgar Elementary Schools," which were divided by grade, were new compositions written by Japanese. At that time, the Ministry of Education paid a large sum of money to the lyricists and composers, and they signed a contract that their names would not be mentioned, nor would the authors themselves reveal their works. It is said that the Ministry wanted to emphasize that the songs were written by the "nation. 〜The lyrics of the song are beautifully written.
　The lyrics of this song are beautifully written in the key of 5.7.
　I cannot help but recognize a strong connection between the Meiji government's decision to create a shoka in this manner and the compilation of the Kojiki and Manyoshu. I am now facing the creation of the Japanese language as my life theme, and I believe that this is deeply related to "Uta" (Japanese poetry).
　I am also painfully aware that these Japanese shoka songs have no body and no world.

【木組みの美感とデザイン】

<img src="https://blogimg.goo.ne.jp/user_image/30/32/03363e293ad5d4f6e23d3e7887a0c68b.jpg" border="0">
<img src="https://blogimg.goo.ne.jp/user_image/7a/e4/bd572058bf39e26010b26e9bc77a26db.jpg" border="0">
先日久しぶりに建築現場の公開があって、参観しておりました。北海道岩見沢・三笠の武部建設さんで【南幌町みどり野きた住まいるヴィレッジ】での現場です。南幌町では北海道建設局・建築指導課が推進している住宅施策に協働して、宅地開発に当たってきている。北海道の住宅施策の「見える化」としてさまざまなプロジェクトが行われてきている。
　札幌から高速道路を使うと、札幌ICから３つ目の「江別東」ICで降りて約10kmほどの郊外道路を走るとこの住宅地域に到着できます。札幌市内からでも30分程度で到着可能。＜一応、法定速度範囲（笑）＞
　北海道の住宅施策の審議委員として現実の住宅建設がどのように進行しているか、実体験も持っているべきと考えての参観でした。それと仕事の拡張として全国各地域の古建築・古民家などを巡っているので、そういうなかでリアルタイムの北海道住宅の感覚も「渇望」する部分があります。
　現場担当のみなさんから説明も受けられるということで楽しく参観できました。
　武部建設さんは北海道ビルダーズ協会の中心であり、同時に木造技術の継承発展を大きなテーマとして事業活動を展開されている。木造技術について北海道での中核的存在と言って過言ではない。
　ということでいろいろ情報を伺って、興味は尽きることがありませんでした。
　そのなかから特徴的な写真は２点。ひとつは室内のインテリアの「見せ場」として木組みの「表し」が特徴的なのですが、素材自体は集成材などなるべく標準的な材料を使い、しかしその美感について「どう見せていくか、活かしていくか」というポイントで面白かった。
　この部位では大きな断面の梁材がそのまま表れているのですが、そのカットの仕方では上端と下端で斜めにカットされている。上が長く下が短くカット。このカットの仕方についてスタッフの方に聞いたら、現場大工さんの判断で、というお答えをいただいた。大工さんに直接聞いたら、たぶんもうちょっと突っ込んだ説明があったかも知れませんが、なんとなく腑に落ちる部分があった。
　上から下にまっすぐに切断すれば無機的になるけれど、斜めの視線を与えることで、それを見続けていれば、納得感になっていくのではないだろうか。
　２つ目の写真は、外部デッキの様子。武部さんの住宅ではデザインポイントとしてこういう外部デッキが採用されている。今回、その木材素材についてそれが「屋久杉」であることを伺った。「え、あの屋久杉を？」と聞いたら、自然素材木材のなかで防水性においてバツグンだという情報。屋久杉は「高価」という刷り込み認識があったけれど、コスパはいいということでした。
　そして木組みのデザインにも強く興味を持った。毎日見続ける木組みなので、飽きがこなくて特徴的という用途を考えた結果としてこういうデザインに立ち至っている。強度保持的な意味合いも大きいのだろうけれど、ユーザーと木組みの長い「対話」のデザインという印象を持った次第。


English version⬇

The beauty and design of wood framing.
Wood is combined to create a home with a sense of power. The impression of this house design is that the residents will continue to look at the wooden structure and grow attached to it. The design of the house is based on the idea that people will continue to look at the woodwork and grow attached to it.

The other day, for the first time in a while, a construction site was open to the public and I was able to visit it. It was a site at "Midorino Kita Sumire Village" in Iwamizawa and Mikasa, Hokkaido, by Takebe Construction Co. The company has been collaborating with the housing policy promoted by the Hokkaido Construction Bureau and Building Guidance Division to develop housing sites in Minamihoro Town. Various projects have been carried out as part of the "visualization" of Hokkaido's housing policy.
　Using the expressway from Sapporo, one can reach this residential area by exiting at the Ebetsu Higashi Interchange, the third exit from the Sapporo Interchange, and driving about 10 km on a suburban road. It takes about 30 minutes to reach this area from Sapporo City. <In case you are wondering, this is within the legal speed limit (laughs).
　I visited this area because I thought that as a member of the deliberative committee for Hokkaido's housing policy, I should also have actual experience of how real housing construction is progressing. In addition, as an extension of my work, I visit old buildings and old private homes in various regions of Japan, so I have a "craving" for a real-time sense of Hokkaido housing in this context.
　I enjoyed the opportunity to hear explanations from the people in charge of the construction site.
　Takebe Construction is the core of the Hokkaido Builders Association, and at the same time, they are developing their business activities with the inheritance and development of wooden construction techniques as a major theme. It is no exaggeration to say that they are the core of wooden construction technology in Hokkaido.
　So I asked him for various information and was endlessly interested in what he had to say.
　Among them, there are two characteristic photos. One is the characteristic "expression" of the wooden structure as a "showplace" for the interior of the room. The material itself uses standard materials as much as possible, such as laminated wood, but it was interesting in terms of "how to show and utilize" about its aesthetic sense.
　In this section, a large cross-sectional beam material is shown as it is, but in the way it is cut, it is cut diagonally at the top and bottom ends. The cut is longer at the top and shorter at the bottom. When I asked the staff about the way this cut was made, they replied that it was at the discretion of the on-site carpenter. If I had asked the carpenter directly, he probably would have given me a more in-depth explanation, but there was a part that somehow made sense to me.
　If you cut straight down from the top, it would be inorganic, but if you keep looking at it, by giving it an oblique view, it would become convincing.
　The second photo shows the exterior deck. This kind of exterior deck is used as a design point in Mr. Takebe's residence. I asked him about the wood material used for the deck, and he told me that it was Yakusugi cedar. "Yakusugi cedar? I was told that Yakusugi is one of the most waterproof natural wood materials. I had an imprinted perception that Yakusugi was "expensive," but I was told that it was cost-effective.
　I was also strongly interested in the design of the wooden frame. Since we see the wooden structure every day, we came up with this design as a result of considering the use of the structure to be distinctive and never get tired of it. Although it may have a significant meaning in terms of maintaining strength, I got the impression that the design was the result of a long "dialogue" between the user and the wooden frame.

【スイッチON 地震噴火頻発時代をどう生きるか？】

　昨日17日23時14分、愛媛県ー高知県などで最大震度６の地震発生。夜が明けて被害の状況が徐々にあきらかになっていくでしょうが、被害の少ないことを祈るのみ。
　一方同17日(水)21時すぎ、インドネシア・北スラウェシ州にあるルアング火山で大規模な噴火が発生。こちらでは噴煙が高度19,000mまで上がったとされている。気象庁からはこの噴火の影響での津波などの可能性はないと発表。
　今年に入ってすぐの能登半島地震など天下大乱のように地震噴火頻発時代が、まさにまっ盛りという状況が現実化してきている。とくに環太平洋地域で地球の活動が活発化してきているのだろう。
　住宅としてはまさに「強靱化」ということでひたすら「命をまもる」ことが最重要。
　とくに就寝時の２階や屋根の崩落の危険性から身を守るための具体的対策も求められるのだと思う。
　最近の地元の事例・北海道胆振東部地震は2018年9月6日3時7分に北海道胆振地方中東部を震央として発生した地震の記憶が真新しい。地震の規模は気象庁マグニチュード(Mj)6.7、震源の深さは37 km。最大震度は、震度階級でもっとも高い震度7。震度7の観測は北海道では初めてだった。
　震源地からは比較的に距離があった札幌市西区のわが家でも、その瞬間は一瞬「これですべてが終わるのか」という心理に包まれた記憶がある。震度は５にも達していなかった程度だったのだけれど、その程度でも、と強く感じた。幸い家屋的な被害はなかったので、ケガなどの人的被害も周囲のひとからは発生しなかった。しかしその後、停電になって復旧までには時日を要した。
　たぶん日本列島はどこであっても危険でない地域はないだろうと思う。
　地震に見舞われた広範な地域のみなさんのご無事を祈念しつつ、日頃からの注意を怠らず、常に安全最優先で対応して行きたいと思います。


English version⬇

How to live in the era of frequent earthquakes and eruptions?
Ehime-Kochi earthquake with a maximum intensity of 6 on the Japanese seismic scale, and a large-scale eruption of the Luang Ruang volcano in Indonesia. This is truly a period of crustal activity in the Pacific Rim. We need to always be aware of how to protect ourselves.

At 23:14 on the 17th, an earthquake with an intensity of up to 6 on the Japanese seismic scale occurred in Ehime, Kochi, and other prefectures. As the day dawns, the extent of the damage will gradually become clear, but we can only hope that the damage is minimal.
　Meanwhile, shortly after 9:00 p.m. on Wednesday, March 17, a large volcanic eruption occurred at Luang Ruang volcano in North Sulawesi, Indonesia. The volcano's plume is said to have risen to an altitude of 19,000 m. The Meteorological Agency reported that the eruption had no impact on the region. The Japan Meteorological Agency announced that there is no possibility of a tsunami or other impact from this eruption.
　The Noto Peninsula earthquake that occurred just after the beginning of this year is another example of the frequent occurrence of earthquakes and volcanic eruptions, which are now in full swing. This may be due to the increasing activity of the earth, especially in the Pacific Rim region.
　The most important thing for housing is to be "tough" and to "protect life.
　In particular, concrete measures to protect oneself from the danger of collapsing second floors or roofs when sleeping are also required.
　A recent local example, the Hokkaido Bombshell Earthquake, is a brand new memory of the earthquake that struck at 3:07 a.m. on September 6, 2018, with its epicenter in the central-eastern part of the Bombshell region of Hokkaido. The earthquake had a JMA magnitude (Mj) of 6.7 and an epicenter depth of 37 km. the maximum intensity was 7, the highest on the seismic intensity scale. it was the first time an intensity of 7 was observed in Hokkaido.
　Even at my home in Nishi Ward, Sapporo, which was relatively far from the epicenter of the quake, I remember that for a moment I was enveloped in a psychological state of wondering if this was the end of everything. The intensity of the quake was not even 5, but I strongly felt that it was. Fortunately, there was no damage to houses, and no injuries or other human suffering occurred among the people around us. However, it took a few days for the power to be restored.
　Perhaps there is no area in the Japanese archipelago that is not dangerous.
　While praying for the safety of everyone in the wide areas hit by the earthquake, we will continue to take daily precautions and always give top priority to safety.

【襖建具・引き戸のなかの「暖炉」】

　写真は愛知県犬山の「明治村」のなかの「西宮芝川邸」内部。
　和のたたずまいの畳敷き込みの部屋のふすま戸を開けたところ。案内の方が開けたのですが、最初はなんのことやら気付かなかった。「これは襖に仕舞い込んだ暖炉です」と言われてオイオイ。
　そもそも襖（ふすま）って、木などでできた骨組みの両面に紙や布を張ったものでそれに縁や引手を付けたもの。和室の仕切りに使う建具の一つである。単に「唐紙」と呼ばれることもある。
　いかにも和風の「しつらい」を代表する建具の中から、いきなり洋風の、それも「暖房装置」が出現してくる。しげしげと見るとたしかに燃焼の痕跡が見られるので暖炉として使用もされたのでしょう。いまは犬山にあるけれど、移築前は西宮に建てられていた住宅。
　温暖地域とはいえ、年に１−２ヶ月くらいは暖房が恋しくはなるだろう。
　しかしほかの春夏秋には、ほぼ無用の長物。
　囲炉裏までの本格的な定置型暖房は「むさくるしい」。だけれどもその一時期には満々とした火力の恩恵を得たい。だったら、使わないときには「襖の中に仕舞い込んで」、使うときだけ襖もはずして「火を眺めて暖を取る」という贅沢を楽しんだということかと。
　しかしくるむ襖の素材は木と紙。火の扱いには相当の慎重さが求められただろう。暖炉本体は鋳物のように見えたので暖炉というよりも、まぁ一種の「ストーブ」暖房とも言える。
　見ているうちにこれは，囲炉裏に対しての「火鉢」の発想が拡張したもののような気がしてきた。
　この建物の設計者は武田吾一という建築家。1872-1938年。明治の文明の中核の「配電盤」（司馬遼太郎さんの命名）東京帝国大学工科大学造家学科出身で、卒業後同大の助教授となり、その後、海外渡航経験も豊富で、京都大学の創設委員となって京大の教授にもなった。昭和９年（1934年）には法隆寺国宝保存工事事務所長も務められている。
　この襖仕舞い込み暖炉は、この建築家の創意に違いないだろう。欧米視察経験は豊富なので、このような洋風暖房装置を関西圏でどう「なじませるか」と思案したに違いない。
　結果として、襖や鋳物などの表皮で、まるで火鉢の陶器での代わりをさせるみたいな発想を持ったのではないだろうか。
　・・・オモシロいけれど、しかしその後の建築の歴史の中でこのような発意は発展していくことはなかった。「ちょっとムリがあったのでは？」という実感。
　しかし北海道人としては、目が点になる発想力とは思わされた。


English version⬇

Fireplace" in sliding doors and fittings
A surprising warm-area idea. The idea of "covering" an open-type heating system. It may be an idea of a "brazier" for a sunken hearth. However, paper materials that are exposed to high temperatures are highly dangerous. However, paper material is very dangerous.

The photo shows the interior of the Nishinomiya Shibakawa Residence in the Meiji Village in Inuyama, Aichi Prefecture.
　The fusuma door of the Japanese-style tatami-mat room has been opened. The tour guide opened the door, but I did not realize what it was at first. I was told, "This is a fireplace that has been hidden in a fusuma sliding door.
　To begin with, a fusuma is a sliding door with a wooden frame covered on both sides with paper or cloth, to which a rim and pulls are attached. It is one of the fittings used to partition a Japanese-style room. It is sometimes simply called karakami.
　Among the fittings that are representative of Japanese-style "shitsurai," a Western-style "heating system" suddenly appears. Looking closely, one can see traces of combustion, so it must have been used as a fireplace. The house is now in Inuyama, but it was built in Nishinomiya before it was relocated.
　Even though it is located in a temperate region, it is likely to miss the heat for 1-2 months a year.
　However, in the spring, summer, and fall, it is almost useless.
　Full-scale stationary heating up to the hearth is "too much work. However, I would like to benefit from a full fire at that time of the year. So, I thought that the owner enjoyed the luxury of "putting it away in the sliding doors" when not in use, and removing the sliding doors only when it was time to use it, and "watching the fire and getting warm.
　However, the materials of the sliding doors are wood and paper. The fireplace itself looked like a cast iron fireplace. The fireplace itself looked like cast metal, so it could be called a kind of "stove" heating rather than a fireplace.
　The more I looked at it, the more I felt that it was an extension of the idea of a "brazier" as opposed to a sunken hearth.
　The architect of this building is Goichi Takeda (1872-1938). A "switchboard" (named by Ryotaro Shiba) at the core of Meiji civilization, he was a graduate of the Department of Architecture of the Tokyo Imperial University of Technology, and after graduation became an assistant professor of the same university, and later became a founding member of Kyoto University and a professor of Kyoto University, with extensive experience traveling abroad. In 1934, he also served as the director of the Horyuji National Treasure Conservation Construction Office.
　This fireplace with sliding doors must have been an original idea of this architect. He must have had a lot of experience in visiting Europe and the United States, so he must have wondered how to make such a Western-style heating system "fit in" in the Kansai region.
　As a result, they must have come up with the idea of using sliding doors, cast metal, and other materials to replace the ceramic surface of a hibachi brazier.
　It is interesting, but such an idea did not develop in the history of architecture. I think it was a bit unreasonable. I feel that it was a bit unreasonable.
　However, as a Hokkaido native, it is an eye-opening idea.

【お花畑➡駐車場への「整地」土木作業】

　さて出張から帰還後、その間に進展した「家の断捨離」作業のチェック。
　そして溜まっていた大型ゴミ類を一気に市の破砕センターに持ち込んで処分して、さらに陶器・ガラス類の専用処理センターで片付けた。もうすっかり「お馴染み」さんになってしまっていて、目が合うと「この人、なんかいつも来るなぁ（笑）」みたいな表情。どうぞよろしくお願いします。
　一方家の中の整理整頓は驚くほどに進展していて、事前準備通り、昨日は工事の依頼先との打合せができました。
　家の中のことは基本的に整理整頓作業がメインですが、それが進まないことには建築に依頼する前提条件ができてこない。建築作業に入ってもらうには、明示的に「ここをこうする」という共通の視認確認が大前提。家の中が混乱していては、建築側としての想像力に無用の混乱を招いてしまう結果になる。
　これからのニッポンではこういう既存建物を扱う領域が増えて行かざるを得ないので、たぶん「施主側」の「家整」〜家をととのえる、ということが重要になってくるでしょう。生活と建築作業との連携とでも言うべき事柄でしょうか。
　で、室内のことだけではなく、駐車場の整地なども不可欠になっていく。今回の場合、既存の「花畑」を駐車場スペースに改装する計画。そうすると事前にできるだけ敷地条件の明示化が必要なので、ほぼ放置されて枯れ草地と化している花畑スペースを「還元」させた。まぁ、だいたい10坪程度なのですが、放置していた歳月分、根茎類の抵抗が激しい（笑）。
　庭仕事ってあんまり経験がないので、道具類の選択自体もよくわかっていません（泣）。なんですが、とくに冬枯れの植物は根が「強い」。スキ・クワのような道具を探し出してきて、適当に作業を開始。悪戦苦闘していましたが、途中でカミさんから「あ、きれいな花芽、ほかに植え替えたいから」と急遽の申し入れ。＜写真は資料写真です＞
　
　まぁなんとかカタチが整って、土だけにほぼ還元できておりました。
　こういった農事作業でもなんとか体力が持っていたので、ちょっと内心は自信を持っておりました。で、一度始めると、庭仕事・土いじりというのも、奥行きを感じさせられる。晴耕雨読というコトバがありますが、どうもそういう部分に多少「スイッチが入った」かも知れないと、自分を制御するのに必死であります（笑）。・・・


English version⬇

Land preparation for a flower garden and parking lot
I have been living in the media of house and land, but this is the first time I have experienced tinkering with soil. I was exposed to the "depth" of working with plants.

After returning from the business trip, I checked the progress of the "house decluttering" project.
　I took all the large trash that had accumulated to the city's shredding center for disposal, and then went to a special disposal center for ceramics and glass. He has become a familiar face, and when our eyes meet, he looks at me and says, "This guy always comes here, doesn't he? Please take care of him.
　Meanwhile, the organization of the house is progressing surprisingly well, and as we had prepared in advance, we were able to have a meeting with the client for the construction yesterday.
　The main thing inside the house is basically the organizing work, but if that does not progress, the prerequisites for commissioning construction will not be created. In order to have architectural work started, a common visual confirmation that explicitly says, "This is what we are going to do here," is a prerequisite. If there is confusion inside the house, it will result in unnecessary confusion in the imagination of the architects.
　In the future in Japan, the number of areas that deal with existing buildings will increase, and it will probably become more important for the "client side" to "prepare the house" - to put the house in order. It is a matter of coordination between daily life and architectural work.
　In this case, it is not only about the interior, but also about the preparation of the parking lot. In this case, the plan is to convert the existing "flower garden" into a parking space. In this case, the plan was to convert the existing "flower garden" into a parking space. Well, it is roughly about 10 square meters, but the rhizomes have been resisting me so much because of the years of neglect (laughs).
　I don't have much experience in garden work, so I don't really understand the choice of tools itself (tears). But, especially winter dead plants have "strong" roots. I found a tool like a skidaddle and started to work at random. We struggled with it, but in the middle of the work, my wife made an urgent request, saying, "Oh, I want to replant the beautiful flower buds with other plants.

　I had managed to keep up my physical strength in this kind of farming work, so I was a little confident inside. And once I started, I could feel the depth of gardening and tinkering with the soil. There is a saying, "it's all in the sun, it's all in the rain," and I am struggling to control myself, thinking that I may have "turned on" a bit in this area (laughs). Laughs.