【事業規模500億円の自然改造 淡路夢舞台-3】

　この淡路夢舞台の総工費は439億円〜約500億円と言われている。玉突き的な起動要因となった国家規模投資である「関西新空港」の総事業費はおおむね３兆円。金額サイズで考えると新たに創った公共基盤に対して1.67%程度の環境破壊復元費用がここでは掛かったという巨視把握になるかと。
　一方、工事中の1999年の日本全体の政府・民間トータルの「建設投資額」は68兆5000億円あまり。同年の日本のGDPは約510兆円。対GDP比13.4％ほど。2023年度の建設投資額は約70兆円という見通し。建築と言うものが占める経済規模はおおむねこういった規模感。
　この淡路夢舞台の「経済価値感」を把握するためのモノサシと言えるでしょうか。
　「淡路夢舞台」建設概要〜建築主：兵庫県・（株）夢舞台＜第３セクター＞〜設計期間：1993/4-1994/12（震災前）1995/10-1996/12（震災後）　工事期間：1997.07-1999.12 2003.3オープン　敷地面積：213,930㎡　延べ床面積：95,078㎡　設計：建築／安藤忠雄建築研究所　施工／（株）竹中組、清水建設（株）など11社JV。〜以上、淡路夢舞台・趣意書より。


　こういう国家的なプロジェクトに「総設計師」として想を巡らせた建築家・安藤忠雄氏の設計思想の表現として「都市ゲリラ」という言葉が有名。自身の言葉とされて以下のような言葉が語られる。
　「われわれは、一人の指揮官と、その命令に従う兵隊からなる「軍隊」ではない。共通の理想をかかげ、信念と責務を持った個人が、我が身を賭して生きる「ゲリラ」の集まりである。」
　安藤忠雄作品は、小さな住宅である「住吉の長屋」とか、司馬遼太郎記念館から直島の地中美術館など多数を巡り歩いているけれど、壮大なスケール感ということではこの淡路夢舞台はまさに圧巻。
　普段は住宅が自分の想像力サイズなのに対し、この規模感ははるかに想定外（笑）。ほとんど地形全体「風景」のデザインと言うに近い感覚です。


English version⬇

Awaji Yumebutai: A 50 billion yen natural remodeling project
The total construction cost and the size of the space are truly big. The boundary between architecture and landscape/environment seems blurred. It has the feel of Tadao Ando's "Labyrinth" world (laughs). Laughs.

　The total construction cost of the Awaji Yumebutai is said to range from 43.9 billion yen to about 50 billion yen. The total project cost of the "Kansai New Airport," a national-scale investment that became the starting factor for the project, was approximately 3 trillion yen. Considering the size of the cost, it would be a macroscopic figure that the cost of restoring environmental destruction was about 1.67% of the cost of the newly created public infrastructure.
　On the other hand, the total "construction investment" of the Japanese government and private sector in 1999, when the construction was underway, was 68.5 trillion yen. Japan's GDP in the same year was approximately 510 trillion yen. The construction investment in FY2023 is expected to be about 70 trillion yen. The economic scale of the construction industry is roughly in this range.
　This is a rough measure to grasp the "economic value" of the Awaji Yumebutai.
　Awaji Yumebutai construction outline - Architect: Hyogo Prefecture, Yumebutai Corporation (third sector) - Design Period: 1993/4-1994/12 (before the earthquake) 1995/10-1996/12 (after the earthquake) Construction Period: 1997.07-1999.12 Opened March 2003 Site Area: 213,930m2 Total Floor Area: 95 Design: Construction: Takenaka Corporation, Shimizu Corporation, and 11 other companies (JV).

　　The term "urban guerrilla" is well known as an expression of the design philosophy of the architect Tadao Ando, who was the "general designer" of these national projects. The following words are said to be his own words.
　We are not an "army" consisting of a single commander and soldiers who follow his orders. We are a group of guerrillas, individuals with common ideals, convictions, and duties, who live their lives at their own peril.
　I have visited many of Tadao Ando's works, from the small house "Sumiyoshi no nagaya" and the Ryotaro Shiba Memorial Museum to the Chichu Art Museum on Naoshima, but in terms of grand scale, this Awaji Yumebutai is truly a masterpiece.
　While I normally live in a house the size of my imagination, this scale is far beyond what I expected (laughs). It is almost like designing a "landscape" of the entire topography.

【自然の廃墟を建築的想像力「リフォーム」 淡路夢舞台-2】

　関西新空港は1994年当時の関西経済復興の欠くべからざる人的交流・経済活性化の基盤公共事業と位置づけられていた。経済を考えれば中世の堺の港が果たしていた役割、それが日本の社会変革の中核であったことを顧みただけであきらかだろう。そのために必要な土砂・石材を海上交通で運搬させることを考えれば瀬戸内海地域の島からそれを供出するのがもっとも経済合理性が高い。
　いまから30年前の状況では地域総体としてこのことを受容して淡路島はその身を削って関空を産み落としたのだと言える。写真は自然復元の構想図と、破壊された当時の現地の状況。同様の事態では跡地はほぼそのまま放置されたまま。たとえば札幌の都市開発でも市南部の「石切山」から用材が切り出された。経済利便性と自然破壊はトレードオフの関係であることは自明だと思う。
　しかしこの1990年代の日本・関西では荒廃せざるを得なかった淡路島の自然環境に対して、それを環境復元する志向をもって対処した。そのように決定したのだけれど、しかし自然環境の復元ということは人類社会ではあまり経験知のないことでもあったのだ。近代以降の開発偏重の日本史で後の自然回復まで取り組んだ開発はほとんどなされてこなかった。札幌の石切山の放置は当たり前だったのだ。


　そういうなかでカナダ・バンクーバー近郊のビクトリアに「プッチャートガーデン」という花と緑あふれる公園がある。ここは元はセメント工場として石灰岩を切り出す採掘場だった。荒廃し岩肌が剥き出しになっていたが、オーナーのプッチャート夫妻は自分たちで土を入れ、草木を植え始めた。20世紀初めから始められ20世紀半ばになって現在の庭園の主要部分ができあがったのだとされる。
　バブルの余波で一時は民間でゴルフ場リゾート計画も持ち上がった淡路夢舞台の敷地にこのプッチャートガーデンを参考に国と兵庫県の主導で、失われた自然環境の回復という「夢舞台」が展開されていった。土木建築的リフォームに想像力が傾けられたといえる。設計者として安藤忠雄氏が全体計画をまとめ上げていくことになる。


English version⬇

Can Human Society Restore the Lost Nature? Awaji Yumebutai-2]
A large-scale international airport is absolute social capital for the development of the Kansai economy. Awaji Island "cut itself down" by land reclamation and gave birth to the Kansai International Airport. ...

In 1994, the new Kansai Airport was positioned as a fundamental public works project for human exchange and economic revitalization, an indispensable element of the economic recovery of the Kansai region. It is clear from the economic perspective that the port of Sakai in the Middle Ages played a central role in Japan's social transformation. The most economically rational way to transport the earth, sand, and stones necessary for this was to use marine transportation to supply them from the islands of the Seto Inland Sea region.
　It can be said that 30 years ago, the Awaji Island accepted this situation as a whole region, and it was the island of Awaji that gave birth to the Kansai International Airport at the expense of its own people. The photo shows a conceptual plan for natural restoration and the situation of the site at the time of the destruction. In similar situations, the site has been left almost untouched. For example, in the urban development of Sapporo, lumber was quarried from "Ishikiriyama" in the southern part of the city. It is obvious that there is a trade-off between economic convenience and destruction of nature.
　However, in the 1990s, Japan and Kansai dealt with the natural environment of Awaji Island, which had to be devastated, with the intention of restoring the environment. Although they made such a decision, however, the restoration of the natural environment was something that human society had little experience with. In the development-oriented history of Japan since the modern era, there has been very little development that has addressed the restoration of the natural environment. The neglect of Ishikiriyama in Sapporo was a common occurrence.

Among these, there is a park full of flowers and greenery called "Putchart Gardens" in Victoria, near Vancouver, Canada. The site used to be a limestone quarry for a cement factory. The owner, Mr. and Mrs. Putchart, began to plant trees and plants by themselves, and it is said that the main part of the present garden was created in the mid-20th century.
　In the aftermath of the bubble economy, a private golf course resort project was proposed at one time on the Awaji Yumebutai site, but the national government and Hyogo Prefecture took the lead in developing a "dream stage" to restore the lost natural environment, based on this Putchart Garden. It can be said that the imagination was focused on civil-architectural remodeling. Tadao Ando, the architect of the project, was responsible for the overall plan.

【関空建設での自然破壊からの環境再生 「淡路夢舞台」-1】

　本日から関西圏の淡路島・淡路夢舞台の話題をシリーズで。
　淡路夢舞台は、関西空港建設での埋め立て用土砂の採掘跡地を蘇らせるという自然破壊からの環境再生を目的に、建築家・安藤忠雄によって設計された複合施設。氏の建築空間の代表作とも言われる。
　たまたま淡路夢舞台にあるホテル、グランドニッコー淡路に宿泊。安藤建築は関西圏ではたくさん接していてやはり好感を持っている建築空間設計者。しかし関西には距離感もあってこの「淡路夢舞台」について事前知識はあまりなかった。ホテルからの回遊式通路室に情報が掲出されていて安藤氏の構想スケッチなども参観。しかしじっくりと整理する時間はなく、今回ようやく写真や情報を整理して全体像を再構成。
　世間的には何周も遅れての体験ですが、その空気感も含めてまとめておきたい。感じたこと、掘り下げるところなど自分の体験をベースにブログ連載としては最適かと思える次第。まずは淡路夢舞台の地形的な事情や歴史について掘り下げるところからはじめたいと思います。

　この淡路夢舞台は上のGoogleMap地図の地理位置（赤いマークの位置）。関西圏全体としての経済活性化策として1994年に開港した「関西空港」。わたしもよく関西圏に行くのに利用します。世界からの関西圏玄関口として非常に大きな位置。この海上空港の建設に当たって当然ながら、埋め立てのために大量の土砂が必要。
　関西圏でこうした大規模開発事業が行われるときには瀬戸内海地域の島嶼から資源が徴用されることは、歴史的に連綿と続けられてきた。土砂や岩石運搬には海上交通がもっともコストが安い。大阪城石垣は瀬戸内海諸島からの岩石が徴用された。同様のことが1994年当時も活発に行われこの淡路島東岸の「夢舞台」地域から大量の土砂が採掘され利用された。

　結果、この風光明媚な淡路島の東岸地域は激しく自然破壊された。こうして破壊された跡地をさてどう再生させていくのか、今回ブログシリーズはそのプロセスと状況ルポ。＜以下明日以降＞


English version⬇

Awaji Yumebutai: Environmental Restoration from Destruction of Nature by Kansai International Airport Construction - 1
Osaka Castle stone walls were mined in large quantities from islands in the Seto Inland Sea. The modern KIX also destroyed nature, including Awaji Island. This is a report on the restoration of the Yumebutai. The reportage of "Yumebutai", its restoration.

　Today we begin a series on Awaji Yumebutai, Awaji Island in the Kansai region. Awaji Yumebutai is a complex designed by architect Tadao Ando for the purpose of environmental restoration from the destruction of nature by revitalizing a former landfill site for the construction of Kansai Airport. It is said to be one of Mr. Ando's masterpieces of architectural space.
　I happened to stay at the Grand Nikko Awaji, a hotel in Awaji Yumebutai. I have come in contact with many Ando architects in the Kansai region, and I have a good impression of him as a designer of architectural space. However, due to my distance from the Kansai region, I did not have much prior knowledge of the Awaji Yumebutai. I saw the information posted in the circulation room from the hotel, and saw Mr. Ando's conceptual sketches. However, I did not have time to take the time to carefully organize the information, and this time I finally sorted through the photos and information to reconstruct the entire picture. Although I experienced the event many laps behind the rest of the world, I would like to summarize my experience, including the atmosphere of the event. I thought it would be best for a blog series based on my own experience, including what I felt and what I dug into. I would like to start by delving into the topographical situation and history of Awaji Yumebutai.

　This Awaji Yumebutai is the geographic location (marked in red) on the GoogleMap map above. Kansai Airport opened in 1994 as a measure to revitalize the economy of the Kansai region as a whole. I often use the airport to go to the Kansai region. The airport is located in a very important position as the gateway to the Kansai region from the rest of the world. Naturally, the construction of this offshore airport requires a large amount of earth and sand for land reclamation. Whenever such large-scale development projects are undertaken in the Kansai region, resources are requisitioned from islands in the Seto Inland Sea area, a practice that has continued throughout history. Marine transportation is the most cost-effective way to transport earth, sand, and rocks. The stone walls of Osaka Castle were built using rocks from the islands of the Seto Inland Sea. Similar activities were actively carried out in 1994, when a large amount of earth and sand was mined and used from the Yumebutai area on the east coast of Awaji Island.

As a result, the scenic east coast of Awaji Island was severely destroyed. In this blog series, we report on the process and situation of how to restore the destroyed site.
＜The following is a report on the process and situation.＞

【少年信長「陣取り」勝利の戦略眼 戦後こども文化-6】

　子ども遊びのDNAは相当に民族史を遡れる。メンコを調べて江戸中期にその証拠があるとされる。
　そんなことを考えていてわたしの幼少年期に夢中になっていた「S陣取り」のことが無性に気に掛かるようになった。調べてみると「陣取り」という子ども遊びは古来から不変の民俗として存在したとされている。メンコの画面には「武将」の絵が描かれることが多かったけれど、江戸中期からさらに以前、たとえば尾張清洲の街遊びが大好きだったと伝承される織田信長の少年期、かれはどんな子ども遊びをしていたのだろうと想像すると、やはり「陣取り」が最初に浮かび上がってくる。
　わたしの幼い頃の陣取りはS字状の陣を地面に描いて、２チームに分かれ片足ケンケンで敵陣に向かって攻めていくゲームだった。陣奥には「家宝」のコーナーがあって、そこを踏むと勝利になった。陣中に入ると両足を地面に着けて動けたが、移動中は片足ケンケン。なので移動中に敵に出会ったら、両者片足ケンケンで取っ組み合う。両足が着地したら負け。途中には休憩場所があってそこでは敵味方、平和が維持されている。

　という戦争ゲームだけれど、日本民族は連綿とこの遊びを伝承してきたようだ。信長の時代にもこのような陣取りゲームは行われていただろう。あったとすれば信長の好奇心旺盛ぶりを考えれば、あらゆる勝利方程式を考えて戦っていたに違いない。また家臣団のなかにそういった幼年期以来の人物たちも多かった。現に前田利家はそのような人物像が言われる。幼少年期、毎日仮想戦争ゲームで頭の体操。虎視眈々と作戦を高度化させていたと考えるのは自然ではないか。
　狭い隘路に入り込んでしまえば大軍相手でも地形を活かして勝利し得る。毎日あちこちに出没して地形を知り尽くして戦略ゲーム勘を鍛えていれば、桶狭間も可能だったのかも・・・。
　どうも子ども遊びの研究発掘から歴史人物との心理の同心、想像力が高まってくる。


English version⬇

The DNA of Children's Games: Postwar Children's Culture-6
A boy named Nobunaga was absorbed in the game of "jin-tori" in the town of Kiyosu and various places in his domain during the Okehazama period. The past and the present are concentrated in the play area of a child's brain. ...

　The DNA of children's play can be traced back considerably into ethnic history. There is evidence of this in the mid-Edo period, as evidenced by a study of menco.
　Thinking about this, I became curious about "S-jintori," a game that I was crazy about in my childhood. I found that the children's game of "jin-tori" has existed as an unchanging folk custom since ancient times. Although many menco screens depicted "warlords," when I imagine what kind of children's games Oda Nobunaga, who is said to have loved playing in the streets of Kiyosu, Owari, as a boy, played from the middle of the Edo period to even earlier, "jintori" comes to the forefront of my mind.
　When I was a child, the game was to draw an S-shaped camp on the ground, then divide into two teams and attack the enemy camp with one foot on the ground and the other foot on the ground. There was an "heirloom" corner at the back of the camp, and if you stepped on it, you won. When you entered the camp, you could move with both feet on the ground, but while moving, you had to keep one foot on the ground. So, if you met an enemy while moving, both of you would wrestle each other with one foot on the ground. If both feet landed on the ground, you lost. There were rest areas along the way where peace was maintained between friend and foe.

The Japanese people seem to have handed down this war game from generation to generation. I am sure that such a war game was played even in Nobunaga's time. If there were, Nobunaga must have been very curious and thought of all kinds of winning formulas. Many of his vassals had been playing such games since their childhood. In fact, Toshiie Maeda is said to be such a personage. In his childhood, he exercised his mind by playing virtual war games every day. It is natural to think that Maeda Toshiie was making his strategy more sophisticated with an eagle eye.
　If he could get into a narrow defile, he could take advantage of the terrain to win even against a large army. If he had been out here and there every day, knowing the terrain thoroughly and developing his strategic game intuition, he might have been able to win the battle of Okehazama....
　Apparently, the psychological sharing with historical figures increases from the research excavation of children's games.

【子ども向け「雑誌メディア」への文化集約 戦後こども文化-5】

　さて東京上野の「下町風俗資料館」展示から、こども文化の推移について掘り起こしてきた。個人的に肉体体験のある「紙芝居」や「パッチ（メンコ）」のことを辿ってみると、子ども文化としての「いつの世も変わらない」部分が浮き彫りになってくる気がしてならない。
　とくにメンコについてはその出自が江戸時代まで確実に遡れる証拠があると見せられると、人間本然の部分での「感受性」で江戸期のこどもたちとも深い共感を強く持つようになる。ただ、その本然が時代によってさまざまな表情を見せるだけなのだというように気付かされるのだ。
　そうした幼少期体験の基底的「文化性」は、わたしたち戦後世代としては子ども向け雑誌＝マンガ雑誌へとメディア化していった。展示資料では写真のような少年・少女雑誌が提示されていた。これらの雑誌にはわたしは記憶がなく、わたし年代より以前の子どもたちに愛読されたものなのだろうと思う。
　その選択が兄弟たちの共通的選択だったのかどうか不明だけれど、わたしは「少年画報」という雑誌にどっぷりとハマり込んでしまっていた（笑）。

基本的には紙芝居由来の「ストーリーマンガ」に圧倒的にのめり込んでいた。不思議なものでこういう特定メディアに惹き付けられると「その世界から世間を見る」みたいな感覚に襲われていたと思う。
　この雑誌では他誌で華々しく一世を風靡していた手塚治虫作品がなかなか掲載されなかったのが、あるとき「マグマ大使」という作品が登場した。そのときすでに「眼光紙背に徹して」いた少年期のわたしは、出版社と大作家・手塚治虫さんとのビジネス的な交渉とか関係性までをおもんばかるようにまでなっていた。「あれ、どうも関係がうまくいってないんじゃないか・・・」みたいな（笑）。特定メディアから知らず知らずに影響される党派制・立場のようなものに縛られていたように思うのだ。
　その後、自分自身が出版＝メディアというビジネスの周辺領域で生きるようになった内面的な動機を占めているのかもしれない。


English version⬇

Cultural Consolidation into "Magazine Media" for Children: Postwar Children's Culture-5
Children's culture became a medium of manga magazines in postwar society. The dramatization and supplement culture sublimated the picture-story show and menko culture. The...

　Now, I have been digging into the transition of children's culture from the "Shitamachi Fuzoku Shiryokan" exhibition in Ueno, Tokyo. When I trace back to my personal physical experience of "picture story shows" and "patches (menko)," I cannot help but feel that the "unchanging" aspects of children's culture come to the fore.
　In particular, when we are shown evidence that the origin of menko can be traced back to the Edo period (1603-1868), we can strongly sympathize with the children of the Edo period in terms of their "sensitivity" to human nature. However, they realize that this naturalness only shows different expressions depending on the time period.
　The fundamental "cultural nature" of such childhood experiences became media for us, the postwar generation, in the form of children's magazines (manga magazines). In the exhibition materials, magazines for boys and girls like the one shown in the photo were displayed. I have no memory of these magazines, and I think they must have been read by children before my generation.
　I am not sure if this was a common choice among my brothers and sisters, but I was completely absorbed in a magazine called "Shonen Gaho" (laugh).

　 Basically, I was overwhelmingly absorbed in "story manga" derived from picture story shows. It is a strange thing, but when I was attracted to this particular media, I felt as if I was "looking at the world from that world.
　One day, however, "Magma Ambassador" appeared in the magazine. At that time, I was already "devoted to the light of the eye," and I had come to care about the business negotiations and relationship between the publisher and the great author, Tezuka Osamu. I was even concerned about the business negotiations and relationship between the publishing company and the great author Osamu Tezuka. (laugh). I think I was bound by a kind of partisan system or position that was unknowingly influenced by certain media.
　Perhaps this accounts for the internal motivation that led me to live on the periphery of the business of publishing=media.