【用に忠実な超「民藝」建築 東旭川の養蚕民家-8】

北海道ではこういった生業に即した民家建築というのは
主に日本海側・西部海岸沿いの漁家建築が多数残っている。
どちらもその産業による建築への要請が色濃くあって、
いかにも「用の建築」という要素が強く感じられる。
現代の住宅というものが失いつつある、職業との一体性が強い。
古民家というものが現代人に強い郷愁をもって受け止められるのには、
こうした「生業感」というものが大きいのではないかと思っています。
用から来る建築の成り立ちとか、規範性のようなものが明白で
そこに「人間の営み」感が強く感じられ、
はるかに伝わってくる先人の息づかいへの共感力が大きい。
こういう感じ方は「民藝」に通じる部分だと思うのだけれど、
概念規定が必ずしも明確ではない民藝運動としては
古民家建築についてあいまいな状態のままになっていると思う。
創始者の柳宗悦の構想力以上に、大スポンサーとしての倉敷・大原家の方が
ただしく古民家の空間性を評価していると思う。
実際にそうした住宅建築を体感してきての実感であります。
日常使いの「民具」についても柳宗悦などが「これがそうだ」と
決めつけただけで、氏が亡くなった後はその概念範囲が不明になってしまった。
そう感じている多くの人々によってその後、民藝のより本然形として
「古民家」への強い支持が示され、いわば民藝は止揚されたのかも。
結局、人間活動の究極的な「用」としては古民家そのものが
より巨大な「文化」領域になってきているのではないか。
さらに個人的な意見として、北海道が生み出した住宅の革新は、
現代生活文化にとって超越的な「民藝運動」ではないかと思っています。
人々の暮らしの根底的な「用を満たす」という似た出自だが、
実質的な「革新性」では、はるかに超える文化性を創造している。
いまだに北海道の住宅進化を認識していない現在の民藝運動に残念感を抱く。


この旭川に遺された養蚕民家は開拓に必死に立ち向かった
1905年段階の移住者の魂魄をそのまま生々しく息づかいとして伝えている。
一般的和風建築が高い階高への志向性を感じさせない中で、
養蚕という具体的な空間目的に対して率直に高く大きな空間を
素朴に追求している様子が明白。
２階の壁の上部は屋根まで開放された大空間が広がり、
室内建具は吹き抜けに対して２階分が上下に積み上げられていて
一般的古民家に対して稀有な巨大空間性を見せてくれている。
まるで開拓期アメリカ西部でのバルーンフレームのような
大空間志向、寒冷な気候に対して内部気候の安定性を強く求めた
ひとびとの生きた痕跡を強烈に発信してくれている。
建築存在そのものが強い情報発信力を持っている。
吹き抜けが一般的になった現代住宅でも、間仕切り建具がタテに積層するのは
ほとんど見ることのない、きわめて独特の室内空間。
養蚕の目的にきわめて素直な全館吹き抜けという独特の和風建築。
その後の北海道住宅建築が本州以南地域の既存常識を打破していく
開拓初期の奔放な革新性を発揮していると思います。


English version⬇

Mingei" architecture that is faithful to its original purpose: A silkworm-raising house in Higashi Asahikawa.
The minka is the ultimate form in the realization of the essence of folk art, the "use" of human life. The housing innovations of modern Hokkaido are realizing transcendent "use". ......

In Hokkaido, this type of minka architecture is mainly found along the western coastline of the Sea of Japan, where many fishermen's houses are still standing.
In Hokkaido, there are many minka buildings that were built to meet the needs of the industry, mainly along the Sea of Japan and the western coast.
Both of these structures are strongly influenced by the needs of the industry, and
The architecture of the minka is strongly "architecture for use".
They have a strong sense of unity with their occupations, something that modern houses are losing.
The reason why modern people feel a strong nostalgia for old private homes is that they have a strong sense of "livelihood.
I believe that this "sense of occupation" is a major factor in the strong nostalgic appeal of old private homes to modern people.
The architectural origins and norms that come from the use of the house are obvious, and the sense of "human activity" is strong in them.
and the sense of "human activity" is strongly felt.
and the empathy for the breath of our predecessors that is transmitted far and wide is great.
I think this kind of feeling is a part of "folk art," but the concept is not always clear.
However, as a folk art movement that does not necessarily have a clear conceptual framework, it is difficult to define the concept of "mingei".
I think that the concept of old private house architecture is still ambiguous.
The Kurashiki Ohara family as a major sponsor is more important than the conceptual power of Muneyoshi Yanagi, the founder of the Mingei movement.
I believe that the Kurashiki Ohara family, as the major sponsor, has a greater appreciation for the spatiality of the minka than Muneyoshi Yanagi, the founder of the minka movement.
This is my feeling after having actually experienced such residential architecture.
As for "folk tools" for daily use, Muneyoshi Yanagi and others
After his death, the scope of the concept became unclear.
After his death, the scope of the concept became unclear.
Mingei may have been sublimated, so to speak, by the strong support for "kominke" (old private houses) as a more natural form of mingei.
In the end, as the ultimate "use" of human activity, the minka itself
In the end, the old private house itself may have become an even larger "cultural" field as the ultimate "use" of human activity.
Furthermore, in my personal opinion, the housing innovations created in Hokkaido
transcendental "folk art movement" for the culture of modern life.
Although similar in origin to fulfill the fundamental "needs" of people's lives, the "innovativeness" of Hokkaido's housing is a transcendent "Mingei" movement for contemporary life culture.
In terms of substantive "innovation," it is creating a cultural quality that goes far beyond.
I feel a sense of disappointment in the current Mingei movement that still does not recognize the evolution of housing in Hokkaido.

This sericultural house left behind in Asahikawa conveys the spirit of the settlers in 1905 who desperately faced the frontier.
The spirit of the immigrants in 1905 is vividly conveyed in this house.
While the general Japanese-style architecture does not seem to be oriented toward high stories, this house is a very large and frankly high house for the specific purpose of sericultural purposes.
It is obvious that the building is frankly pursuing a high and large space for the specific spatial purpose of sericulture.
The upper part of the second floor wall is open to the roof.
The upper part of the wall on the second floor opens up to the roof, creating a large space.
The fittings in the room are stacked up and down for the second floor against the stairwell.
The interior fittings are stacked two stories above and below the stairwell, creating a huge spatiality rarely seen in ordinary old houses.
It is like a balloon frame in the pioneer American West.
The large-space orientation and the cold climate of the region
The building itself has a strong power to transmit information.
The very existence of architecture itself has a strong ability to transmit information.
Even in modern housing, where vaulted ceilings have become commonplace, the vertical stacking of partition fittings is a very unique feature that is rarely seen in modern housing.
This is a very unique interior space that is rarely seen.
This is a unique Japanese-style building with a full-length stairwell, which is very much in keeping with the purpose of sericulture.
Hokkaido's subsequent residential architecture broke away from the conventional wisdom of the region south of Honshu.
The building demonstrates the unrestrained innovation of the early pioneering period.

【塗り壁から木壁重ね張り「付加断熱」 東旭川の養蚕民家-7】

福島から旭川へ、1905年に移住した人々の生業の痕跡探訪。
今回は「壁」工法についてのポイントであります。
上の写真３番目は故地・福島県にいま保存されている養蚕の家の様子。
木造軸組に対して、外皮は塗り壁で構成されている様子がわかる。
日本住居の常識的な構成で仕上げられている。
やや寒冷とは言え、北海道と比べればはるかに温暖な福島では
内部気候にも十分な配慮が必要な養蚕の家でもこういう「外皮」で
十分にその機能性を満たすことができたということでしょう。
一方で１−２番目の写真は旭川の養蚕民家の内部と外部の仕上げの様子。
内観的には土壁によって作られているとわかる。
しかし、外観としては一部には土壁が露出しているけれど、
大部分はその上から、木の「重ね張り」が施工されているとわかる。
土壁だけでは旭川の寒冷気候に対して熱的に脆弱で、
それへの建築対応として、外皮をさらに「付加」させたものとわかる。
今日の建築常識で言えば「付加断熱」目的を試みていたと推測できる。
きのう見たように南面側は太陽熱取得のためにガラス建具＋障子という
日射熱取得をパッシブに追求していたのに対して
それ以外の方向の外皮側では、このような重厚な「重ね張り外皮」とした。
北海道ではいろいろな「断熱」の試行が行われてきて
軸間におがくずや粒状の繊維質などが「充填」されたりしてきたけれど、
この家では明確に「付加断熱」目的的な志向性が示されている。


この家では塗り壁について説明が示されているけれど、
北海道ではやがて塗り壁という建築工法は廃れていった。
今日の住宅ユーザーにとって塗り壁というものはこのように
「説明書き」が必要なほどに縁遠い建築手法となっていることを端的に語る。
今日ではこういう軸間にグラスウールなどで「静止空気」保存層を作り、
断熱層とすることが温暖地・蒸暑地でも志向されるようになってきた。
しかし1905年段階で、それも専門大工でもないDIY施工者としては
常識的土壁を施工して、直感的にその上にさらに下見板張りでの木外壁を
「防寒」の目的意図として重ね張りしていったのでしょう。
断熱について科学的解析が進んでいくのは北海道でも戦後以降。
それも北欧・北米との技術交流が始まってから実質がスタートした。
そういう前時代の中で、素朴な開拓民として果敢に知恵と工夫で立ち向かった。
必死の「あたたかさ」希求の痕跡といえるのでしょう。
もちろん塗り壁には日本人的なDNAを醸成した肌感覚があった。
細やかな土の粒子によって太陽光・室内光が微妙な陰影感をもたらし、
湿度感のある精神性を日本人に涵養してきたと感じさせられる。
北海道人としては、縁遠くなってきたこの「日本マザー」的な質感に
ある距離感を持っているのだと思っています。
どうしても違う壁構成に向かわざるを得なかった人間としての「故地」感。


English version⬇

Additional Insulation" - A silkworm-raising private house in Higashi Asahikawa - 7
A measure to insulate against the cold by layering the outer skin. Wisdom and ingenuity within the scope of common sense of Japanese architecture. Japanese nostalgia for painted walls. The Japanese nostalgia for painted walls.

Exploring the traces of the livelihood of the people who migrated from Fukushima to Asahikawa in 1905.
This time, the point is about the "wall" construction method.
The third photo above shows a sericultural house still preserved in Fukushima Prefecture, the place of its origin.
You can see that the outer skin of the house is made of painted walls, while the wooden frame is made of wooden shafts.
The house is finished in a manner that is common for Japanese houses.
Although it is somewhat cold, Fukushima is much warmer than Hokkaido.
In Fukushima, which is a little colder than Hokkaido but much warmer than Hokkaido, the "outer skin" of a silkworm-raising house, which also requires careful consideration of the internal climate, is sufficiently functional to meet the requirements.
The first and second photos show a house built by the Asahi government.
On the other hand, the first and second photos show the interior and exterior finishings of a sericultural house in Asahikawa.
Internally, it can be seen that the house is made by clay walls.
However, on the exterior, although some of the clay walls are exposed, the majority of the walls are covered with a wooden "overlay" over them.
The majority of the house is constructed with wood "overlay" on top of the exposed clay walls.
The clay walls alone are thermally vulnerable to the cold climate of Asahikawa.
The clay walls alone are thermally vulnerable to Asahikawa's cold climate, so the exterior skin was "added" as a response to this.
In today's construction, it is assumed that they were trying to achieve the purpose of "additional insulation.
As we saw yesterday, the south side of the house has glass fittings and shoji screens for solar heat gain.
On the other hand, on the other side of the building, the exterior skin is covered with glass fixtures and sliding doors to obtain solar heat.
On the other side of the building, a heavy "layered skin" was used.
In Hokkaido, various attempts at "insulation" have been made
sawdust and granular fibers have been used to "fill" the spaces between the shafts, but in this house, the "added insulation" is clearly defined as "insulation".
This house clearly shows the purposeful orientation of "additional insulation".

The house shows a description of painted walls.
In Hokkaido, the lacquered wall method of construction eventually fell into disuse.
For today's home users, painted walls are so far removed from the building process that they need an explanation.
The house is so far removed from the building that it is necessary to write an explanation about it.
Nowadays, the use of glass wool and other materials to create a layer of "still air" between the shafts is a way of insulating the building from the warming climate.
Today, the use of glass wool or other materials between these shafts to create a layer of "still air" between the shafts as an insulating layer is becoming more common in warm and humid climates.
However, in 1905, as a DIY builder who was not a professional carpenter, he did not have the experience and knowledge to build such a wall.
In 1905, however, a DIY builder, who was not a professional carpenter, constructed a common-sense earthen wall and intuitively built a wooden exterior wall with clapboards on top of the earthen wall.
The clapboards were probably placed on top of the clapboards for the purpose of thermal insulation.
Scientific analysis of thermal insulation did not progress in Hokkaido until after World War II.
It was not until after the start of technological exchanges with Northern Europe and North America that scientific analysis of heat insulation began to take shape in Hokkaido.
In such a prewar period, the simple pioneers boldly confronted this challenge with their wisdom and ingenuity.
It can be said that this is a trace of their desperate search for "warmth.
Of course, the painted walls had a sense of skin that fostered Japanese DNA.
The fine particles of the clay brought a subtle sense of shading to the sunlight and interior light.
The fine particles of the clay bring a subtle sense of shade to the sunlight and interior light, and have nurtured in the Japanese a spirituality with a sense of humidity.
As a Hokkaido native, I feel a certain distance from this "Japanese mother" texture that has become distant from me.
I believe that we have a certain sense of distance from this "Japanese mother" quality that has become distant from us.
A sense of "hometown" as a person who has inevitably had to turn toward a different wall configuration.

【福島から旭川へのスタイル変化 東旭川の養蚕民家-6】

この東旭川の養蚕民家は、福島県伊達市近郊からの1905年の移住者の建築。
この北海道旭川で故郷での養蚕民家建築を移植したもの。
当然、故郷での同様建築への興味が湧くところですが、
これも匿名氏からの情報を頂きました。福島県に民家園があって、
そこにほぼ同様の建築機能をもった養蚕民家があるのだというのです。
インターネットで調べたところ画像があり、見やすく修正を試みた写真です。
正面側と切妻側の様子を比較対照した画像対比。
1-2番目が福島でそれ以外が旭川です。
福島県では正面側では手前南面側に外部縁側が１−２階とも確認されますが、
旭川ではこれがガラス入りの外部建具で仕切られている。
福島県の方でも写真に雪がちょっと写ったりしているけれど、
もちろん北海道北部の旭川盆地ではハンパない寒冷と積雪条件。
地域に似合うようにスタイルが進化していっていると受け止められる。


一方、切妻側では上の写真の福島では下屋が付設されていますが、
下の旭川では構造が積雪に耐えられずに破却されたというように伝えられている。
外見的にはたいへんそっくりであり、どうも北海道での建築者の松浦さんと
この福島の「小野家」さんとは地縁的繋がりがあるように想像できる。
余談ですが福島の小野ということで小野小町伝承とも関連があるのかも（笑）。

昨日データ復元依頼先から連絡があり、復元不可能とのこと。
深く落ち込んでおります。
しかし諦めることなく、SSDディスク購入の大型店舗に連絡して
その会社のカード利用履歴などから間違いなく「購入履歴」が認証されたので
その大型店からメーカーに対応依頼をしてもらいました。
直接何度も電話していたのですが、数十回電話しても常に「話し中」で
一向にラチが開かないということからの窮余の一策。
これがようやく風穴を開けて、意思疎通が可能になっています。
準備を整えて本日、本体と説明文書などを添えて送付予定。
サードパーティのデータ復元事業者では不可能とされましたが、
製造責任メーカー側の対応がどうか、一縷の期待をもって祈念している次第。
しかし、購入して３ヶ月程度しか経過していなくて出張移動といっても
落下などの衝撃も加わっていない状況で認識されなくなるというのは
ユーザーの常識から考えてちょっと納得いかない。
一般的にデジタルデータにはバックアップ必要という注意は理解できるけれど
ユーザー側として、すべてのデータについて常時バックアップなどありえない。
実際に失われてみるとこれはいかに不安定な社会インフラであることか、
ユーザーの自己責任論があまりにも過剰ではと不信になる。
ということですが、ブログ連載については匿名氏からの情報バックアップが
大いに力づけになってくれてもおりますので、
人情に感謝も込めて頑張っていきたいと思っています。
捨てる神あれば拾う神あり、か（笑）。


English version⬇

Style Change from Fukushima to Asahikawa: Sericultural Houses in East Asahikawa - 6
The houses that remain in Fukushima, my hometown, are compared and contrasted with Asahikawa's sericultural houses. The change in style is visible and stimulates the imagination. The visitor can feel the God who discards and the God who picks up. The house in the village of Fukushima

This Higashi Asahikawa sericultural minka was built in 1905 by an immigrant from the suburbs of Date City, Fukushima Prefecture.
This Asahikawa, Hokkaido, is a transplant of the sericultural minka architecture of his hometown.
Naturally, I would be interested in similar architecture in my hometown.
This information was also provided by an anonymous source. There is a minka garden in Fukushima prefecture.
I found a picture of a silkworm-raising house with a similar architectural function there.
I found a picture of it on the Internet and modified it to make it easier to see.
The first and fourth images are the front side and the gable side.
The first two are Fukushima and the rest are Asahikawa.
In Fukushima, the front side has an exterior porch on both the first and second floors on the south side of the front elevation.
In Asahikawa, this is separated by external fittings with glass.
In Fukushima Prefecture, there is a bit of snow in the photo.
Of course, the Asahikawa Basin in the northern part of Hokkaido is subjected to extremely cold and snowy conditions.
It is accepted that the style is evolving to suit the region.

On the other hand, on the gable side, a shed was attached in Fukushima, pictured above, but
On the other hand, on the gable side, the Fukushima building in the photo above has an attached shed, while the Asahikawa building in the photo below was torn down because its structure could not withstand the snow accumulation.
The two houses are very similar in appearance, and it is likely that Mr. Matsuura, the builder in Hokkaido, and the "Ono Family" in Fukushima are the same person.
It seems that there is a geographical connection between Mr. Matsuura, an architect in Hokkaido, and the "Ono Family" in Fukushima.
As a side note, Ono in Fukushima may be related to Ono Komachi folklore as well (laugh).

Yesterday, I received a call from the company that requested data recovery and was told that the data could not be recovered.
I am deeply depressed.
However, I did not give up and contacted the large store where I purchased the SSD disk.
The company's credit card usage history and other information definitely verified the "purchase history", so I contacted the large store where I purchased the SSD disk.
I asked that large store to send a request to the manufacturer for a response.
I called them directly several times, but they were always "busy" even after dozens of calls.
This was a desperate measure because we were never able to reach the manufacturer.
This has finally opened a windfall and communication is now possible.
The unit is ready and will be sent today with the unit and explanatory documents, etc.
We were told this was not possible with a third-party data recovery provider.
I am praying with a ray of hope that the manufacturer responsible for manufacturing the product will be able to do something about it.
However, it has been only about 3 months since I purchased it, and even though it is a business trip, it has not been moved yet.
However, it is a little unacceptable from the common sense of users that the device is not recognized after only three months of purchase and without any impact such as being dropped or moved on a business trip.
It is a little unconvincing from a user's point of view.
I understand the general caution that digital data needs to be backed up, but I am not convinced that this is the case.
However, it is impossible for a user to always back up all data.
When you actually lose your data, you realize how insecure the social infrastructure is, and you realize that you are not responsible for the loss.
I distrust that the user's self-responsibility theory is too much.
I am very grateful to Mr. Anonymous for his information backup for the blog series.
I am grateful for the support of anonymous users and will continue to do my best.
I would like to do my best with gratitude for the humanity.
Where there is a God, there is a God, right?

【南面２層吹き抜けの和室空間 東旭川の養蚕民家-5】

わたしの住宅探訪写真データの喪失事件で連載ブログ記事
「東旭川の養蚕民家」シリーズが中断のやむなきに至っていましたが、
そもそもこの建物を紹介していただいた匿名氏から、なんと助け船。
氏が以前にご自分で撮影された大量の写真データをご恵送くだされたのです。
わたしの写真データについては専門のデータレスキュー屋さんに昨日依頼して
まだ状況についての返答は受けていませんが、せっかく写真をいただいたこともあり、
とりあえず、連載としては復活させたいと思います。
わたし自身の撮影した写真データと比較すると、人間の着眼点には違いがあるので
文章化するのにはやや径庭を感じる部分もありますが、
ご好意を無にせず翻訳コンニャクしながら、挑戦してみたいと思います。

で、匿名氏からはこの旭川の養蚕民家の面白いところ、として
１． 縁側が二階建てになっている。
２． 縁側がガラスで囲われている。
というポイント、着眼点が寄せられてもいました。
実はこの建物は２階は公開されていないので細部まで参照できていなかった。
日本住宅で普遍的で北海道が諦めざるを得なかった空間に「縁側」がある。
わたしのブログでも何回もこのポイントについて考えてきていますが、
この養蚕民家の場合には室内気候と日射取得に知恵と工夫を集中している。
住宅空間装置としての縁側がどうなっているのかは重要な点。
日本家屋では縁側は特徴的な中間領域、半外部ですが、
北海道では積雪寒冷という気候条件下で一番最初に放棄された空間。

まずは開拓期に旺盛に導入された「ガラス建具」で縁と外部が仕切られた。
中間領域的ではあるけれど明確に「内部化」されたと言えるでしょう。
この旭川の養蚕民家でも同様にガラス外部建具が導入されている。
一方で１階２階とも縁側はあるけれど、その内側方向は障子で仕切られている。
和室の畳空間が２層吹き抜け空間に変貌している。
一番上の写真のように障子建具が２層分上下に連続しているのです。
城郭のような特殊建築ならばいざ知らず、民家でこういう光景は珍しい。
養蚕の用途建築として、日射取得・室内気候重視の結果、
こういったデザイン的飛躍が行われたのだろうと思います。
ガラス建具で外皮が構成されているので、一種の「温室空間」だとも言える。
最初期、日本で初めてガラスが建材として北海道で導入された時期、
高価だったそれが北海道の奥深い開拓地の民家でも導入されたことからも
効果としての断熱性気密性を利用していた実質がうかがえます。
ディテールとしての建築工法進化より以前にこういう自然的パッシブの工夫が
和風建築の異形形として出現していたということでしょう。


English version⬇

Japanese-style house with a two-story atrium on the south side.
Japanese-style architecture of Hokkaido, an atypical shape for a cold climate. The natural and passive design was developed prior to the evolution of construction methods to maximize the use of the building. The house is a two-story Japanese-style house with a Japanese-style atrium.

Due to the loss of the photo data of my house visit, I had to suspend the series of blog posts
I had no choice but to suspend the series of "Sericulture Houses in East Asahikawa".
However, Mr. Anonymous, who introduced this building to me in the first place, kindly offered to help me out.
He kindly sent me a large amount of photo data that he had taken by himself.
As for my photo data, I asked a professional data rescuer to help me yesterday.
I have not yet received a reply on the status of the data, but since I have received the photos, I would like to revive the series for the time being.
I would like to revive this article as a series for the time being.
I would like to revive the series because of the difference in the human perspective when compared to my own photographic data.
I feel it is a little bit difficult to write about it, but I will try my best.
I would like to try to translate the data into text without losing your kindness.

Mr. Anonymous mentioned the following as interesting points of this Asahikawa silkworm farm house.
1. the porch is two stories high
2. the porch is enclosed by glass.
The second floor of this building is actually open to the public.
In fact, the second floor of this building is not open to the public, so I was not able to refer to it in detail.
The "veranda" is a universal space in Japanese housing that Hokkaido has been forced to give up.
I have considered this point many times in my blog.
In the case of this silkworm farm house, wisdom and ingenuity are concentrated on the indoor climate and the acquisition of solar radiation.
It is important to note how the veranda as a residential spatial device.
In Japanese houses, the veranda is a characteristic intermediate area, a semi-exterior, but
In Hokkaido, it was the first space to be abandoned due to the climatic conditions of snowy and cold weather.
First, glass fittings, which were vigorously introduced during the pioneer period, separated the porch from the outside.
It can be said that the space was clearly "internalized," although it was an intermediate area.
This Asahikawa silkworm farm house also introduced glass exterior fittings in the same way.
On the other hand, although both the first and second floors have veranda, they are separated from each other by shoji screens.
The tatami space of the Japanese-style room is transformed into a two-story atrium space.
As shown in the photo at the top, the shoji fittings are continuous up and down for two layers.
This kind of scene is rare in a minka (private house), notwithstanding if it were a special architecture such as a castle.
As an architecture used for sericulture, this kind of design leap was made as a result of the emphasis on solar radiation acquisition and indoor climate.
I think that this kind of design leap was made as a result of the emphasis on solar radiation and interior climate as a building used for sericulture.
Since the outer skin is composed of glass fittings, it can be said to be a kind of "greenhouse space.
In the early days, when glass was first introduced in Japan as a building material in Hokkaido
It was expensive, but it was also used in private homes in the pioneer areas deep in Hokkaido, and it was also used as a heat insulating and airtight material.
The fact that glass was used in private houses in the pioneer settlements deep in Hokkaido also suggests that it was used for its thermal insulation and airtightness effects.
This kind of natural passive ingenuity was introduced before the evolution of building construction methods as a detail.
This is probably because these natural passive devices appeared as an atypical form of Japanese-style architecture before the evolution of construction methods as a detail.

【ビジュアル表現受容の第１世代人間】

きのうは日本縦断から東北横断と進んだ台風、ついに太平洋上に抜けた。
そうすると気象庁も「温帯低気圧に変わりました」という発表。
北海道人としては、毎度のことながらこの予定調和的なアナウンスに
独特の感慨を持っております。
なんというか「遅れてきた日本人」的な一種の疎外感を味わわされる。
こんな書き方をすると申し訳ないのですが「肩透かし」気分。
台風情報の宴の終わりには「あ、北海道は今回も除外です」みたいな
複雑微妙な心理を持たされるのであります。
そして温帯低気圧に変わった途端に札幌では最高気温16度とかの一気の秋冷。
ほとんど肌寒い気候に包まれております。
関東圏以南地域とは「湿度」環境もまったく違う
低湿度のカラッとした気候が北海道の夏、いや全季節の特徴。
最近の蒸暑地域での「全館除湿」みたいな室内気候制御論には
どうもこれも疎外感を味わわされる。なんですが、ともあれ、
この台風で被害にあわれたみなさんへ、１日も早い復旧を祈念いたします。

さて、ようやくにして本日、データレスキュー屋さんに
住宅画像集中管理の外付けSSDドライブの入院チェックに持ち込めます。
どういうことになるのか、不安と信頼感の両方の複雑心理。
なんとか無事を願う一方で、もしダメな場合にはさらに別の手段も検討中。
３年前までのバックアップデータは確認しているので
最悪の場合にもそれ以前のデータは保存されている。
ちょうど感染症での社会停止状況のなかでのデータが問題なワケ。
・・・つくづく、自分自身という存在を顧みる機会かと
今回のデータ紛失事件で思い知らされています。
というのは、わたしは多くの人生時間を映像・写真とともに過ごしてきた。
たくさんの住宅「現場体験」を積み重ねてきてそれをピンナップしてきた。
Replanという住宅雑誌の取材として、また個人的な古民家などのデータとして。
そしてそれより以前に、自分自身は元祖ビジュアル世代なのではと思う。
わたしの年代はテレビ放送の最初期に遭遇した世代であり、
小学校低学年時代から学校での授業での情報以上に
大量の画像・動画情報に湯水のようにさらされて育った第１世代だということ。
はじめての衛星放送でケネディ暗殺シーンが脳裏に飛び込んできた。
毎日のようにわかりやすい視覚情報から大量の情報を得てきた。
実際に身の回りで触れる視認世界とは比較にならない洪水的視覚情報は
自分自身にとって決定的だったと思えるのです。
そういう体験がベースを形成して仕事領域として住宅、それも視覚の世界に
それがもっとも自然だという感じで入っていったのだと思うのです。
空間情報についてそれを文字ベースで考えるということを
微塵も思わなかった。当然、写真情報がアプリオリな選択だった。
今回の紛失体験から、このことを深く自覚させられている次第です。


English version⬇

The first generation of humans to embrace visual expression.
Humans came into contact with visual information from television almost simultaneously with written information. This is the generation that also gazed at information on the Kennedy assassination through visual images. They were the first generation to receive visual information.

Yesterday, the typhoon, which had moved across Japan and then across the Tohoku region, finally passed over the Pacific Ocean.
Then the Japan Meteorological Agency announced that it had turned into an extratropical cyclone.
As a person living in Hokkaido, I have a peculiar feeling about this scheduled announcement every time.
I have a peculiar feeling about this announcement.
I feel a kind of alienation like a "Japanese who came late".
I am sorry to write it this way, but I feel like I am "looking over my shoulder.
At the end of the typhoon information banquet, I feel like "Oh, Hokkaido is excluded this time, too.
I have a complex and subtle psychological feeling.
And as soon as the extratropical cyclone changed to an extratropical depression, Sapporo experienced a sudden autumn chill with a maximum temperature of 16 degrees Celsius or so.
It is almost chilly here in Sapporo.
The "humidity" environment is completely different from that of the Kanto area and southward.
Low humidity and a dry climate are the characteristics of Hokkaido's summer, and indeed of all seasons.
I feel alienated from the recent indoor climate control theory of "whole-house dehumidification" in hot and humid areas.
I feel alienated from this too. Anyway, I would like to express my sincere condolences to all of you who were affected by this typhoon.
To those who suffered damage from this typhoon, we wish for your earliest possible recovery.

Today, we finally got a data rescue service.
We are finally able to bring the external SSD drive for centralized housing image management in for an inpatient check.
What will happen is a complex psychology of both anxiety and trust.
While I hope it will somehow be safe, if not, I am considering further alternative measures.
We have confirmed backup data up to 3 years ago.
In the worst case scenario, the data before that time will still be saved.
The problem is that the data is just in the midst of a social shutdown due to an infectious disease.
I think this is an opportunity for us to reflect on our own existence.
The loss of the data reminds me that I have to reflect on who I am.
I have spent much of my life with images and photographs.
I have accumulated a lot of "on-site experiences" of houses and have been pinning them up.
I have also been involved in the research of a housing magazine called "Replan", and I have also been involved in the data of my personal old private houses and so on.
Before that, I think that I myself am a member of the original visual generation.
I am of the generation that encountered the first TV broadcasts.
From my early elementary school days, I was exposed to more than just information in school classes.
I am the first generation to be exposed to a large amount of visual and moving image information, more than what we were exposed to in the classroom.
The Kennedy assassination scene jumped into my mind on my first satellite broadcast.
We received a great deal of information from easy-to-understand visual information on a daily basis.
The flood of visual information, which is incomparable to the visual world we actually experience around us, has been decisive for me.
I think it was decisive for me.
Such experiences formed the basis for my work in housing and the visual world.
I think it was this experience that formed the basis for my entry into the visual world as a field of work, as if it were the most natural.
I never thought of spatial information as text-based.
I never thought of spatial information as text-based. Naturally, photographic information was the a priori choice.
This experience of loss has made me deeply aware of this fact.