PREFACE Japanese View of Nature and Townhouse in Kyoto

Intercultural Understanding, 2012, volume 2, pages 3-16

PREFACE

Japanese View of Nature and Townhouse in Kyoto (Kyo-machiya) maintained with Traditional and Environmental Technique, Residents' Norm of Behavior and their Cultural Formation ࢃࡀᅜࡢ⮬↛ほ࡜ி⏫ᐙࡢఏ⤫ⓗఫ⎔ቃᢏ⾡࣭⏕άែᗘ࣭ᩥ໬ࡢᙧᡂ

Dr. Shigeyuki OKAZAKI / ᒸ㷂 ⏒ᖾ

Director of Institute of Turkish Culture Studies, Mukogawa Women’s University / ṊᗜᕝዪᏊ኱Ꮫ ࢺࣝࢥᩥ໬◊✲ࢭࣥࢱ࣮ ࢭࣥࢱ࣮㛗 Head of Department of Architecture, Mukogawa Women’s University / ṊᗜᕝዪᏊ኱Ꮫ ᘓ⠏Ꮫ⛉ Ꮫ⛉㛗

1. Exhaustion of Oil Resource and Global 1. ▼Ἔ㈨※ࡢᯤῬ࡜ᆅ⌫⎔ቃ೔⌮ Environmental Ethics

Global warming and Oil ᆅ⌫ ᬮ໬࡜▼Ἔ Global warming is progressing due to massive ኱㔞ࡢ஧㓟໬Ⅳ⣲᤼ฟ࡟ࡼࡾᆅ⌫ ᬮ໬ amount of carbon dioxide emission. ࡀ㐍ࢇ࡛࠸ࡿࠋẼೃኚືࢆ㜼Ṇࡋࠊࡉࡽ࡟ཎ Development of recyclable natural energies or ᏊຊⓎ㟁ࡢᝒ᝺࡞஦ᨾࢆ㜵ࡄࡓࡵࡢࠊ෌⏕ྍ energy saving technology to eventually hold back ⬟࡞⮬↛࢚ࢿࣝࢠ࣮ࡸ┬࢚ࢿᢏ⾡ࡢ㛤Ⓨࡣࠊ undesirable climatic changes or to prevent disastrous accidents of the nuclear power plants ௒ࡲࡉ࡟ྛᅜࡢ⥭ᛴࡢㄢ㢟࡛࠶ࡿࠋࡋ࠿ࡋࡇ from occurring has to be an urgent task for all ࡢ┬࢚ࢿ࡟ᾘᴟⓗ࡞኱ᅜࡸከࡃࡢⓎᒎ㏵ୖ countries. But some of the world powers and ᅜࡀ࠶ࡿࠋ┬࢚ࢿ࡟↓㛵ᚰࡢࡲࡲࠊࡶࡋḟࠎ developing countries are not active enough in ࡜Ⓨᒎ㏵ୖᅜࡀඛ㐍ᅜ࡜ྠᵝࡢ࢔࣓ࣜ࢝ᆺ saving energies. Recoverable reserves of oil ኱㔞⏕⏘࣭኱㔞ᾘ㈝ࡢ⏕ά࡟✺ධࡍࡿ࡜ࠊ࠶ applying present techniques is estimated to be ࡿண ࡟ࡼࡿ࡜ ᖺᚋ࡟ࡣ⌧ᅾࡢᢏ⾡࡛᥇ exhausted in 80 years, if we remain indifferent to ᥀ྍ⬟࡞▼Ἔ㈨※ࡣᯤῬࡋ࡚ࡋࡲ࠺࡜ゝ࠺ࠋ energy saving and should the life style in the developing countries be switched over to American style with mass production and consumption.

Global oil reserves ୡ⏺ࡢ▼Ἔᇙⶶ㔞 The amount of all recoverable oil reserves, ࡍ࡞ࢃࡕ⌧ᅾࡢ▼Ἔࡢ☜ㄆ⥲ᇙⶶ㔞ࢆࠊẖ divided by annual quantity of oil produced, will ᖺࡢ▼Ἔ⥲⏕⏘㔞࡛๭⟬ࡍࢀࡤࠊ▼Ἔࡣ be exhausted in 40 years. Even if we count in all ᖺ⛬࡛ᯤῬࡍࡿࠋࡉࡽ࡟ࡇࡇᩘᖺ㛫࡟Ⓨぢࡉ oil reserves, including large-sized submarine oil ࢀࡓࠊ࠶ࡿ࠸ࡣࡑࡢᚋࡢⓎぢࡀ᝿ᐃࡉࢀ࡚࠸ field found in these years and the ones expected ࡿᾏᗏ኱ᆺἜ⏣ࡢ✲ᴟࡢ⥲ᇙⶶ㔞ࢆ⪃៖ࡋ to be developed in the years to come, the oil ࡚ࡶࠊୡ⏺ࡢ▼Ἔࡣ ᖺࡢࡏ࠸ࡐ࠸ ಸࡢ reserves will be exhausted in 80 years at the ᖺ⛬ᗘ࡛ᯤῬࡍࡿ࡜ゝ࠺ࠋࡋ࠿ࡋ୰ᅜ࡞࡝ longest, only twice the 40 years at the most. These figures will diminish should China see ࡢ⤒῭ᡂ㛗ࡀຍ㏿ࡍࢀࡤࡇࢀࡽࡢᩘᏐࡣࡉ further accelerated economic growth. ࡽ࡟ῶᑡࡍࡿࠋ

3 Oil to run dry in 80 years ᖺᚋ࡟▼ἜࡣᯤῬ Current extractive technology allows to ⌧ᅾࡢ᥀๐ᢏ⾡࡛ࡣᾏᗏཎἜࡢ 㸣⛬ᗘ recover 30% of offshore crude oil reserves at the ࡋ࠿᥇᥀࡛ࡁ࡞࠸ࡀࠊᆅୗ࡟ᾏỈࡸⅣ㓟࢞ࢫ most, but applying the injection techniques such ࢆὀධࡍࡿ஧ḟᅇ཰ࠊࡉࡽ࡟໬Ꮫᨷἲ࡜࠿࢞ as water flooding or CO flooding (secondary 2 ࢫᨷἲࢆ㥑౑ࡋࡓ୕ḟᅇ཰࡛ࡣᅇ཰ẚ⋡ࡣ recovery) or other enhanced recovery techniques 㸣࡟࡞ࡾࠊ▼Ἔࡢᑑ࿨ࡣ ᖺ࡟ᘏࡧࡿࠋ such as gas or chemical flooding method (tertiary recovery) improve the rate of recovery to 60 % to ࡉࡽ࡟ࡑࡢᚋࡣࢱ࣮ࣝࢧࣥࢻࠊ࢜࢖ࣝࢧࣥࢻࠊ prolong the reserve life index to 140 years. When ࢜࢖ࣝࢩ࢙࣮ࣝ࡞࡝ࡀ࠶ࡾࠊ▼Ἔࡢᑑ࿨ࡣ oil is recovered from tar sand, oil sand or oil ᖺ࡟࡞ࡿࠋࡋ࠿ࡋᾏᗏἜ⏣㛤Ⓨ௨㝆ࡢ஧ shale the life index will be further extended to ḟࠊ୕ḟᅇ཰ࡢ㧗ᗘ࡞᥇᥀᪉ἲࡸ⎔ቃᑐ⟇࡟ 300 years. However, costs of high-technology ࡣ⭾኱࡞㈝⏝ࢆせࡍࡿࠋᚑࡗ࡚ᑡ࡞ࡃ࡜ࡶ⌧ applied in secondary or tertiary recovery which ᅾࡢ᥇᥀᪉ἲ࡟ࡼࡿ▼Ἔࡣ ᖺᚋ࡟ࠊሙྜ will follow the offshore oil field development or ࡟ࡼࡗ࡚ࡣࡑࢀ௨๓࡟ᯤῬࡍࡿࡇ࡜࡟࡞ࡿࠋ costs of relevant environmental protection are ᩥ practically too high. Hence, the oil recovered by present techniques is concerned, can dry up in 80 years, or earlier in some cases. 1)

Global Environmental Ethics ᆅ⌫⎔ቃ೔⌮ Eighty years from now is an age of ᖺᚋ࡜ゝ࠼ࡤࠊ௒ࡢᏛ⏕ࡓࡕࡢᏞࡢ᫬௦ grandchildren of present students. We are ࡟࠶ࡓࡿࠋࡲࡔぢࡠࡇࡢᮍ᮶ࡢே㢮ࡢࡓࡵ࡟ࠊ required to preserve earth’s limited resources to ௒⏕ࡁ࡚࠸ࡿᡃࠎࡀࠊᆅ⌫ࡢ㝈ࡽࢀࡓ㈨※ࢆ hand down sustainable life of human being to our ௒ Ꮡࡋࠊே㢮ࡢ⏕άࢆ⥅ᢎ࡛ࡁࡿࡼ࠺࡟ࡍ descendants to come. To restrain ourselves in our ࡿࡇ࡜ࡀồࡵࡽࢀ࡚࠸ࡿࠋ⮬ศ࡟┤᥋㛵ಀࡢ behavior today for the life of our descendants to ࡞࠸㐲࠸ᮍ᮶ࡢᏊᏞࡢ⏕άࡢࡓࡵ࡟ࠊ௒ࡢ⮬ come in future, which is a matter of no direct relations to us today, is an idea of global ศ⮬㌟ࡢ⾜Ⅽࢆ⮬ไࡍࡿࡇ࡜ࡀᆅ⌫⎔ቃ೔ environmental ethics. Ethical behavior can be an ⌮࡛࠶ࡿࠋ೔⌮ⓗ⾜Ⅽ࡜ࡣ⮬ศ⮬㌟ࡢ฼┈࡟ act conducted as a duty based on a certain ࡣ↓⦕ࡢࡶࡢࡢࡓࡵ࡟ࠊ࠶ࡿุ᩿࡟ࡶ࡜࡙࠸ decision for the sake of something that is ࡚⩏ົ࡜ࡋ࡚⾜࠺⾜Ⅽ࡛࠶ࢁ࠺ࠋࡍ࡞ࢃࡕ⮬ irrelevant to our own profit. It is an act of global ศ⮬㌟ࡢ฼┈ࢆ≛≅࡟ࡋ࡚ࡶᆅ⌫⎔ቃࡢࡓ environmental ethics that one lives symbiotically ࡵ࡟⮬↛࡜ඹ⏕ࡋࠊࡉࡽ࡟ඹ⏕ࡢࡓࡵࡢ┬࢚ in sacrifice of his own merits for the earth’s ࢿᢏ⾡ࢆ㛤Ⓨࡍࡿດຊࢆࡍࡿࡇ࡜ࡀᆅ⌫⎔ environment, and further, makes efforts to ቃ೔⌮࡟ᇶ࡙ࡃ⾜Ⅽ࡛࠶ࡿࠋࣅࢪࢿࢫࡢࡓࡵ develop energy-saving techniques aiming at living with earth, and not aiming at business ࡢ┬࢚ࢿᢏ⾡ࡢ㛤Ⓨ࡛ࡣ࡞࠸ࠋࡑࢀࡒࢀࡢᅜ income. Efforts to reconsider present life style or ࡟࠾࠸࡚ࠊ⌧ᅾࡢ኱㔞⏕⏘࣭኱㔞ᾘ㈝࡟ᇶ࡙ value based on mass-production and ࡃ⏕άែᗘࡸ౯್ほࢆぢ┤ࡋࠊ⮬↛ඹ⏕ᆺࡢ mass-consumption are required for respective ⏕ά࡜ᩥ໬ࡢලయⓗ࡞࢖࣓࣮ࢪࢆࠊඹ᭷࡛ࡁ countries to create and share practical ࡿࡼ࠺࡟ࡍࡿᚲせࡀ࠶ࡿࠋ visualization of symbiotic style of life and culture.

ཎᏊຊ࠿ࡽ⮬↛࢚ࢿࣝࢠ࣮࡬ Shift from Atomic Energy to Natural Energy In March 2011 a disaster occurred at ᖺ ᭶ࠊᕧ኱ᆅ㟈࡜ᕧ኱ὠἼࡀཎᅉ࡛ Fukushima nuclear power plant following ⚟ᓥཎⓎࡢ஦ᨾࡀ㉳ࡁࡓࠋࡑࢀࢆ⚾ࡣࣃࣜࡢ massive earthquake and tidal wave, which I ࣍ࢸ࡛ࣝ▱ࡗࡓࠋṌ㐨࡛ࡍࢀ㐪࠺ேࠊ࢔ࣃ࣮ learned of at a hotel in Paris. People talked to me ࢺࡢ❆࠿ࡽ㌟ࢆ஌ࡾฟࡋࡓேࡓࡕ࠿ࡽఱᗘ about it on the road or through the apartment ࡶኌࢆ࠿ࡅࡽࢀࡓࠋ᪥ᮏ࡟ఫࡴእᅜேࡣ඲ဨ

4 windows. It was when all the foreign residents in ᅜእ⬺ฟ࡜࠸࠺᪂⪺グ஦ࡀ⥆࠸࡚࠸ࡓ᫬࡛ Japan are reported day after day to be fleeing ࠶ࡗࡓࠋᩘ᪥ᚋ⚾ࡓࡕࡀඹദࡍࡿᅜ㝿఍㆟ࡢ abroad. Several days later we flew to Istanbul for ࡓࡵ࡟࢖ࢫࢱࣥࣈ࣮ࣝ࡟⛣ືࡋࡓࠋ୧㒔ᕷ࡛ the international conference, which we ࡣཎⓎᏑ⥆ၥ㢟ࡀ㐃᪥ࢸࣞࣅ࡛㆟ㄽࡉࢀࠊ࢖ cosponsored. In either city the question of ࢫࢱࣥࣈ࣮࡛ࣝࡣཎⓎ཯ᑐࡢࢹࣔࡶ࠶ࡗࡓࠋ whether or not to continue nuclear power ᖐᅜࡋ࡚ศ࠿ࡗࡓࡇ࡜࡛࠶ࡿࡀࠊ᪥ᮏࡢ᪂⪺ generation was discussed on television day after day, and in Istanbul they staged a demonstration ࡜ࢺࣝࢥࡸࣃࣜࡢ᪂⪺࡛ࡣ⿕⅏ᆅᇦࡢᗈࡀ against nuclear power generation. Incidentally, ࡾ࡟኱ࡁ࡞᱁ᕪࡀ࠶ࡗࡓࠋ᪥ᮏேࢆཷࡅධࢀ we found differences in the reported expanse of ࡓ࠸࡜࠸࠺ࢺࣝࢥࡢぶ᪥ᐙࡢ⏦ࡋධࢀࡶ࠶ the stricken area affected by the nuclear plant ࡗࡓࠋࢺࣝࢥࡢ኱Ꮫࡢᩍᤵ࠿ࡽࡣࠊࡇࡢࡼ࠺ disaster between newspapers of Japan and that of ࡞኱᝺஦࡞ࡢ࡟࡝࠺ࡋ࡚᪥ᮏேࡣ࠶ࡢࡼ࠺ Turkey or Paris. A Japanophile Turkish offered to ࡟෭㟼࡛つ๎ṇࡋ࠸ࡢ࠿࡜⪺࠿ࢀࡓࠋ஦ᨾ࠿ receive Japanese refugee. A professor of Turkish ࡽ ࣧ᭶ᚋࡢ௒ࠊࢃࡀᅜࡢཎⓎ෌㛤ࡀ኱ࡁ࡞ university asked how the Japanese can remain cool and orderly amidst such a disaster. Today, at ၥ㢟࡟࡞ࡗ࡚࠸ࡿࠋ஦ᨾࡢ࠶ࡗࡓ ᖺ nine months after the disaster, resumption of ᭶ࡲ࡛ࡢࢃࡀᅜࡢ࢚ࢿࣝࢠ࣮ᨻ⟇ࡣࠊ༙ᩘ௨ ࡲ࠿࡞ nuclear power generation has become a big issue ୖࡢ࢚ࢿࣝࢠ࣮ࢆཎⓎ࡛ ㈥ ࠾࠺࡜࠸࠺ࡶࡢ of our country. Japan had employed an energy ࡛࠶ࡗࡓࠋࡑࢀࡣࡋ࠿ࡋࠊ௒࡜࡞ࡗ࡚ࡣᅜẸ policy to cover over 50% of demand for ⓗྜព࠿ࡽࡣࠊ࡯࡝㐲࠸ࡶࡢ࡛࠶ࢁ࠺ࠋ௨๓ electricity by nuclear power generation. At this moment, however, we suspect the policy may ࡟ࡶቑࡋ࡚ࠊ⮬↛࢚ࢿࣝࢠ࣮ࡢ฼⏝ࡸ⮬↛࡜ have been what is far from national consensus. ඹ⏕ࡍࡿ┬࢚ࢿ⏕άࡀồࡵࡽࢀࡿࡇ࡜࡟࡞ Now, it is required of us more than ever to use ࡗࡓࠋ natural energy or lead energy-saving life in symbiosis with nature.

Natural Environment and Religion ⮬↛⎔ቃ࡜᐀ᩍ As Japanese country is located in the monsoon ࢃࡀᅜࡢ⮬↛ࡣࠊࣔࣥࢫ࣮ࣥᆅᖏ࡟❧ᆅࡋ region, we have 1,500mm annual average ࡚࠸ࡿࠋࡑࡢࡓࡵ ᖺ㛫࡟ᖹᆒ⣙ ੈࡢ precipitation. While those of Europe, USA or 㞵ࡀ㝆ࡿࠋḢᕞࡸ⡿ᅜࠊ୰ᅜ࡛ࡣࡏ࠸ࡐ࠸ China reaches 500mm at the most. The Japanese ੈ⛬ᗘ࡛࠶ࡿࠋࢃࡀᅜࡢࡇࡢ኱㔞ࡢ㝆Ỉ㔞ࡀ large amount of rainfall has blessed us with food ᒣࡢᖾࠊᾏࡢᖾࢆࡶࡓࡽࡋ࡚ࡁࡓࠋࡋ࠿ࡋ୍ from the land and sea. Yet, earthquakes, typhoons ᪉࡛ࡣࠊᆅ㟈ࡸྎ㢼ࡸὥỈ࡞࡝ࡀከࡃࡢே࿨ and floods have deprived of many lives. People, enjoying the bliss of nature, have always feared ࢆዣࡗ࡚ࡁࡓࠋࡔ࠿ࡽேࠎࡣ⮬↛ࡢᜠᜨ࡟ᾎ ࠸ࡅ࠸ the nature with sense of awe. They believed in ࡋ࡞ࡀࡽࡶࠊᖖ࡟⮬↛ࢆᛧࢀࠊ⏽ᩗࡢᛕࢆࡶ the evil spirits of the mountains and rivers. They ࡕࡳࡶ࠺ࡾࡻ࠺ offered fervent prayer for happy lives to a ࡗ࡚⮬↛࡟᥋ࡋ࡚ࡁࡓࠋࡑࡇ࡟ࡣ㨰㨩㨭㨮 spiritual rock "Iwakura(Fig.1)" on which god ࡀఫࡴ࡜ಙࡌࡽࢀ࡚࠸ࡿࠋ⚄ࡀ㝆⮫ࡍࡿ࡜࠸ (Fig.2) ࠸ࢃࡃࡽ descends or a big sacred tree , a cascade and a ࠺☬ᗙ㸦ᅗ 㸧ࡸ኱ᶞ㸦ᅗ 㸧ࡸ⁪ࡸᒣࠎ࡟ᑐࡋ࡚ࠊ mountain. They have held a memorial service ᖾࡏ࡞⏕άࢆ♳㢪ࡋ࡚ࡁࡓࠋࡲࡓ㔪ࡸໟ୎ࡸ "kuyo" for commodities such as used needles, knives or combs. Westerners cannot understand ᷸࡞࡝ࡢ⏕ά㐨ල࡛ࡉ࠼ࠕ౪㣴ࠖࡋ࡚ࡁࡓࠋ the "kuyo", saying “Things are things (they are すḢேࡣࠕ≀ࡣ≀ࡔࡼࠖ࡜ࠊࠕ౪㣴ࠖࢆ⌮ゎ only a commodities from first to last)”. The ࡛ࡁ࡞࠸ࠋࡋ࠿ࡋ᪥ᮏேࡣࠊ≀ࡶே࡜ྠࡌࡼ Japanese regard a commodity as an existence like ࠺࡞Ꮡᅾࡔ࡜ᛮࡗ࡚࠸ࡿࠋࡔ࠿ࡽ≀ࡀ‶ࡕ㊊ a human being. And so, a sense of “mottai-nai ࡶࡗࡓ࠸ ࡾ࡚࠸࡚ࡶࠕ໚య↓࠸ࠖ࡜ᛮ࠺᪥ᮏே⊂⮬ࡢ (wasteful)”, which is unique to us Japanese, dominates over us when something is lost without ᚰࡀ௒ࡶ࠶ࡿࠋ

5 being properly used even when we have them in ࡜ࡇࢁࡀᖺ㛫ᖹᆒ⣙ᩘ ੈࡢ㞵ࡋ࠿㝆ࡽ abundance. ࡞࠸◁₍ᆅᖏࡢ⮬↛ࡣᜍࢁࡋ࠸ࠋࡇࡢཝࡋ࠸ In contrast, the nature of desert regions with ⮬↛ࡣᖖ࡟ேࠎ࡟Ṛࢆணឤࡉࡏࡓࠋ࠸ࡘࡶ㇏ annual average of 10mm of precipitation is ࠿࡞ᜨࡳࢆᮇᚅ࡛ࡁࡿࢃࡀᅜࡢ⮬↛࠿ࡽࡣ formidable. The hard nature always threaten ᝿ീࡉ࠼࡛ࡁ࡞࠸ࡶࡢ࡛࠶ࡿࠋ◁₍࡟⏕ࡲࢀ people with anticipation of death. It is what the ࡓ⚄ࡣࠊ⚄ࡀ๰㐀ࡋࡓே㛫ࡢࡓࡵ࡟ࠊ⮬↛ࢆ Japanese, who expect benefit of the nature usually, could by no means imagine. The religion ㈨※࡜ࡋ࡚୚࠼ࡓ࡜ᩍ࠼ࡓࠋࡑࡇ࡛ࡣே㛫ࡀ born in the desert taught that the human beings, ⮬↛ࢆᨭ㓄ࡋࠊᐈయ໬ࡋࠊᶵᲔ໬ࡋࡓࠋ⮬↛ as creation of god, use the nature as the resources ࡣ⮬ᚊⓗࠊ⮬ᕫᙧᡂⓗ࡞⏕࿨ⓗ࡞Ꮡᅾ࡛ࡣ࡞ of their own. And man dominated over the nature ࠸࡜⪃࠼ࡓࠋ and looked upon it as objective and mechanical existence, not as an autonomous nor self-organizing vital existence.

Fig.1) The object of worship enshrined at Isghidatami Fig.2) A spiritual rock and a sacred tree at Matsuo Shrine, -shrine is the crowing of a huge rock rising out of Shiga prefecture. the riverbed. ᅗ 2) ⁠㈡┴ᯇᑿ⚄♫ࡢ⚄ࡀᐟࡿ☬࡜ᶞᮌ ᅗ 1) ▼␚⚄♫ࡢᚚ⚄య☬ᗙ㸸ୗࢆὶࢀࡿᕝ࠿ࡽ ❧ࡕୖࡗࡓᕧ኱࡞ᒾࡢ㡬㒊

2. Meaning of “Nature” in Japanese and Views 2.᪥ᮏㄒࠕ⮬↛ࠖࡢព࿡࡜ୡ⏺ࡢ⮬↛ほ of Nature in the World

Shuntaro Ito conducted elaborate researches on ఀᮾಇኴ㑻ࡣୡ⏺ࡢㅖᩥ໬࡟࠾ࡅࡿࠕ⮬↛ࠖ the meaning of the word “nature” in the various ࡜ゝ࠺ゝⴥࡢព࿡࡟ࡘ࠸࡚⭾኱࡞◊✲ࢆ⾜ cultures in the world. He explains the differences ࠸ࠊࡑࢀࡒࢀࡢ⮬↛ほࡢ㐪࠸࡟ࡘ࠸࡚ࠊࡑࡋ between them, as well as about the view of nature ࡚ᆅ⌫⎔ቃၥ㢟࡟┤㠃ࡍࡿୡ⏺ࡢேࠎ࡟ᚲ what the people who faces the environmental せ࡞ᑗ᮶ࡢ⮬↛ほ࡟ࡘ࠸࡚௨ୗࡢࡼ࠺࡟ゎ 2) problems of the earth need to have as follows. ㄝࡋ࡚࠸ࡿࠋᩥ㸰㸧

Nature as Natural Object ⮬↛≀࡜ࡋ࡚ࡢ⮬↛ Meaning of the word “nature” in modern ⌧௦᪥ᮏㄒࡢࠕ⮬↛ࠖࡢព࿡ࡣከᵝ࡛࠶ࡿࠋ Japanese is diversified. The first of them is the ࡲࡎࡑࡢ࠺ࡕࡢ➨୍ࡢព࿡ࡣ᫂἞ ࠿ࡽ translated word from the Dutch word “natuur” ᖺ࡟࠿ࡅ࡚ᐃ╔ࡋࡓ࿴⹒ㄒ ࡢヂㄒ࡜ࡋ establish back in 20th to 30th of Meiji period. It is natuur the meaning of what the noun naturein the ࡚ࡢࠕ⮬↛࡛ࠖ࠶ࡿࠋࡑࢀࡣ ୡ⣖௨㝆ࡢ modern Western Europe on and after 17th ㏆௦すḢ࡟࠾ࡅࡿࠕ⮬↛ࠖnature ࡀᣢࡘព࿡ࠊ

6 century meant, i.e. natural object or nature as ࡍ࡞ࢃࡕ≀࡜ࡋ࡚ࡢ⮬↛ࠊ⮬↛≀ࢆព࿡ࡍࡿ object. The image of nature, as Descartes viewed ྡモ࡛࠶ࡿࠋ ୡ⣖ࡢࢹ࢝ࣝࢺࡢ⮬↛ീࡣே it, was of a mechanical one lacking in vital 㛫ࡀ⮬↛ࢆ᧯సⓗ࡟ᨭ㓄ࡋࠊே㛫࡜⮬↛ࡀᑐ aspects, which was opposing to human being. ❧ࡍࡿᶵᲔㄽⓗࠊ⬺⏕࿨ⓗ࡞ࡶࡢ࡛࠶ࡗࡓࠋ Bacon who followed him made an attempt to ࡲࡓࡑࢀ࡟⥆ࡃ࣋࢖ࢥࣥࡣᐇ㦂࡟ࡼࡾ⮬↛ anatomize the nature through experiments. ࢆゎ๗ࡋࡼ࠺࡜ࡋࡓࠋ This view of nature in modern Western Europe dates back to Judeo-Christian religion where a ࡇࡢ㏆௦すḢࡢ⮬↛ほࡢ※Ἠࡣࣘࢲ࣭ࣖ࢟ hierarchical and heterogeneous order was ࣜࢫࢺᩍ࡟࠶ࡿࠋࡑࡇ࡛ࡣ⚄࣭ே㛫࣭⮬↛ࡢ established between God, man and nature. Man 㛫࡟㝵ᒙⓗࠊ␗㉁ⓗ⛛ᗎࡀᡂ❧ࡋࠊࡑࢀࡒࢀ and nature existed for the superordinate. ࡣୖ఩ࡢࡓࡵ࡟Ꮡᅾࡋࠊே᱁ⓗ࡞๰㐀⚄ࡀୡ Personified God created the world and ⏺ࢆ๰ࡾࠊ࠿ࡘே㛫࡜⮬↛ࢆᓧูࡋࡓࠋ⚄ࡣ discriminated human being against nature. God, ㉸㉺⪅࡜ࡋ࡚⮬↛࡟ࡲࡗࡓࡃෆᅾࡋ࡞ࡃ࡞ as a transcendental existence, became what was ࡾࠊே㛫ࡶ⮬↛ࡢ୍㒊࡛ࡣ࡞ࡃ࡞ࡗࡓࠋ⮬↛ not inherent in the nature, and man was not a part of nature anymore. Nature, as one of the God’s ࡶࠊே㛫࡜ྠࡌࡃࠊ⚄࡟ࡼࡗ࡚๰㐀ࡉࢀࡓࡶ creation, became an “outsider” which has nothing ࡢ࡜ࡋ࡚ࠊ௒ࡸே㛫ࡢ඲ࡃ㡸࠿ࡾ▱ࡽ࡞࠸ to do with human being. Thus human being has ࠕእ࡞ࡿࡶࡢࠖ࡜࡞ࡗࡓࠋே㛫ࡣ⮬↛ࢆ㉺࠼ come to top the nature and dominate over it as a ฟ࡚ࠊࡑࡢୖ࡟⮫ࡳࠊࡑࢀࢆᨭ㓄ࡍࡿࡶࡢ࡜ superordinate. This is where we can see an origin ࡞ࡗࡓࠋࡇࡇ࡟⮬↛ࢆே㛫࡜ࡣ඲ࡃ⊂❧↓⦕ of metaphysical speculation that created modern ࡞ࡶࡢ࡜ࡋࠊᐈయ໬ࡋࠊࡇࢀ࡟እ࠿ࡽᐇ㦂ⓗ positivism to regard the nature as totally ᧯సࢆຍ࠼࡚⛉Ꮫⓗ࡟ᢕᥱࡋࡼ࠺࡜ࡍࡿࠊ㏆ independent existence from man and as objective ௦ࡢᐇド୺⩏ⓗែᗘࡢᙧ⪋ୖᏛⓗ※Ἠࡀぢ existence and make an attempt to scientifically grasp it through planned experimental process. ࡽࢀࡿࠋ And yet, natura, which means “nature” in ࡜ࡇࢁࡀ࣮࣐ࣟ᫬௦ࡢࣛࢸࣥㄒࡢࠕ⮬↛ࠖ Latin of the Roman period, was used to represent ࢼ࣮ࢺ࣮ࢗࣛ natura ࡣࠊࢠࣜࢩࣕㄒࡢࠕ⮬↛ࠖ about the same meaning as physis in Greek. It ࣆࣗࢩࢫ physis ࡜࡯ࡰྠᵝࡢព࿡࡟౑ࢃࢀ࡚ was an umbrella word which means all things in ࠸ࡓࠋࡑࢀࡣ᳃⨶୓㇟ࢆໟᣓࡍࡿゝⴥ࡜ࡋ࡚ࠊ nature, including the properties of things, ⮬↛≀඲యࢆᣦࡍ࡜ྠ᫬࡟ࠊ஦≀࡟ෆᅾࡍࡿ essentiality, inherent strength of an article. ᅛ᭷࡞ᮏᛶࡸຊࢆព࿡ࡍࡿゝⴥ࡛࠶ࡗࡓࠋࡇ “Nature” as a word to include and integrate ࡢୡࡢᒣᕝⲡᮌ࡞࡝⮬↛⏺ࡢ୍ษࢆྵࡳ⤫ everything in natural scenery has its origin in the word physis. In the ancient Orient, heaven, earth ྜࡍࡿゝⴥ࡜ࡋ࡚ࡢࠕ⮬↛ࠖࡣ physis ࡟࠾࠸ or water was called by the deities’ names ࡚ึࡵ࡚ㄌ⏕ࡋࡓࠋࡑࢀ௨๓ࡢ࢚࢜ࣜࣥࢺୡ reflecting the mythical connotation of them. So, ⏺࡛ࡣࠊኳࡸᆅࡸỈ࡞࡝ࡣࠊᙼࡽࡢ⚄ヰⓗ⾲ there was not a word that corresponds to “nature” ㇟ࢆ཯ᫎࡋ࡚ࡑࢀࡒࢀࡢ⚄ࡢྡ࡛࿧ࡤࢀࠊኳ to include heaven, earth or water. “Nature” in ࡸᆅࡸỈࢆ⥲ᣓࡍࡿព࿡ࡢࠕ⮬↛ࠖ࡜ゝ࠺ゝ Greek meant an animate existence with an inhere ⴥࡣ࡞࠿ࡗࡓࠋࢠࣜࢩࣕㄒࡢࠕ⮬↛ࠖࡣࢹ࢝ system of principle of generation and ࣝࢺࡢࡼ࠺࡞௚࠿ࡽຊࢆຍ࠼ࡽࢀ࡚ᅉᯝⓗࠊ development unlike the heteronomous existence ᶵᲔㄽⓗ࡞㐠ືኚ໬ࡀច㉳ࡉࢀࡿ௚ᚊⓗ࡞ which is made to react and mechanically alter the movement by a force from outside as Descartes ⮬↛࡛ࡣ࡞ࡃࠊෆ࡟⏕ᡂࠊⓎᒎࡢཎ⌮ࢆࡶࡗ thought of. And human being was harmonically ࡓ⏕࿨ⓗ࡞⮬↛࡛࠶ࡗࡓࠋே㛫ࡣࡑࡢ୰࡟ㄪ embraced in it. ࿴ⓗ࡟ໟࡳ㎸ࡲࢀ࡚࠸ࡓࠋ

7 Nature to Represent Naturalness ⮬↛ᛶ࡜ࡋ࡚ࡢ⮬↛ The second meaning of “nature” was introduced ➨஧ࡢࠕ⮬↛ࠖࡢព࿡ࡣ௖ᩍఏ᮶࡟ࡼࡗ࡚ with Buddhism. “Nature” did not mean object, but ࡶࡓࡽࡉࢀࡓࡶࡢ࡛࠶ࡿࠋࡑࢀࡣ⮬↛≀ࢆព meant state which was natural such as ࿡ࡍࡿࡢ࡛ࡣ࡞ࡃࠊ⮬↛ᛶࠕ࠾ࡢࡎ࠿ࡽ࡟ࠖ “naturalness”, “natural” or “spontaneous”. Originally ࢆព࿡ࡍࡿゝⴥ࡛࠶ࡿࠋࡶ࡜ࡶ࡜୰ᅜ࡟࠾ࡅ the word “nature” in China was an adjective to ࡿࠕ⮬↛ࠖࡣኳᆅ୓≀ࡢ᭷ࡾ᪉ࠊ⮬↛ࡢ⮬ᚊ describe mode of existence of all things in the universe or self-organized, spontaneous and ᛶࠊ⮬Ⓨᛶࠊ⮬㊊ᛶࢆ⾲ࡍゝⴥ࡛࠶ࡗࡓࠋ self-sufficient nature of the natural world.

Fundamental and Original Connection ⮬↛࡜ே㛫ࡢ᰿※ⓗ⣣ᖏ between Nature and Man ➨୕ࡢࠕ⮬↛ࠖࡢព࿡ࡣࢃࡀᅜᅛ᭷ࡢ⮬↛ The third meaning of “nature” represents a ほ࡛࠶ࡿࠋࡇࡇ࡛ࡣ⮬↛࡜ே㛫ࡀ᰿※ⓗ⣣ᖏ view of nature inherent in Japan, in which the ࡟ࡼࡗ࡚㐃⤖ࡉࢀ࡚࠸ࡿࠋ౛࠼ࡤ୓ⴥ㞟࡟ nature and the human being is linked in a ࠕ᫓ࡢ㔝࡟㟘ࡓ࡞ࡧࡁ࠺ࡽᝒࡋࡇࡢኤⶱ fundamental connection. Here is an example in ࡟㭬㬆ࡃࡶࠖ࡜࠶ࡿࠋࡇࡇ࡛ࡣ⮬↛ࢆḷ࠺࡜ the Mannyo-shu (“A collection of milliard leaves”). A poet composed: ྠ᫬࡟స⪅⮬㌟ࡢᚰࢆ⾲ࡋ࡚࠾ࡾࠊ㏫࡟ᚰࡣ As I see lingering mist over the field ⮬↛ࢆḷ࠺ࡇ࡜࡟ࡼࡾ⃰ᐦ࡟࡞ࡿࠋ ୡ⣖ᚋ my heart is filled with plaintive sadness ༙ࡢすḢ࣐ࣟࣥࢸ࢕ࢩࢬ࣒ࡣឤ᝟⛣ධ࡟ࡼ And now I hear a nightingale sings ࡾ⮬↛࡜ே㛫ࡢ㛫ࡢᶫΏࡋࢆᅗࡗࡓࠋࡑࢀࡣ in the evening shade as if to sympathize ⚄ࢆ፹௓࡜ࡋࡓ⮬↛࡬ࡢ៿᠄࡛࠶ࡗࡓࠋࡋ࠿ The poet describes the scenery and his emotion at ࡋ᪥ᮏྂ᮶ࡢ⮬↛ほࡣ⮬↛࡜ே㛫ࡢࡶࡗ࡜ the same time, by describing the nature his ┤᥋ⓗ࡛➃ⓗ࡞୍య໬࡛࠶ࡗࡓࠋ feeling is further deepened. The Western ➨୍ࡢព࿡ࠊ᳃⨶୓㇟ࢆព࿡ࡍࡿ⮬↛≀࡜ romanticism in late 18th century tried to build a bridge between the nature and human being by ࡋ࡚ࡢࠕ⮬↛ࠖࡣࠊே㛫࡜⮬↛ࡢᑐ❧ࡸ᩿⤯ࠊ emotional involvement. It was a yearning to the ⮬↛ࡢ཰ዣ࡜ᨭ㓄ࢆࡶࡓࡽࡋࠊࡑࡢ⮬↛ീࡣ nature through the medium of God. However, our ௚ᚊⓗࠊỴᐃㄽⓗࠊᶵᲔㄽⓗ࡞ࡶࡢ࡛࠶ࡗࡓࠋ ancient indigenous view of nature was of more ኱㔞⏕⏘኱㔞ᾘ㈝ࢆᨭ࠼ࡿ⛉Ꮫᢏ⾡ࡢཎື direct and straightforward integration of nature ຊ࡜࡞ࡾࠊ㇏࠿࡞ᾘ㈝⏕άࢆࡶࡓࡽࡋࡓ༙㠃ࠊ and man. බᐖࡸᆅ⌫⎔ቃၥ㢟ࠊᝒ᝺࡞ཎⓎ஦ᨾࡢཎᅉ The nature in the first category, i.e. a natural ࡜ࡶ࡞ࡗࡓࠋࡑࢀࢆ஌ࡾษࡿࡓࡵ࡟ୡ⏺ࡣ࠸ object which means sum of things, has brought ࡲ᪂ࡓ࡞⮬↛ほࢆᶍ⣴ࡋ࡚࠸ࡿࠋே㛫ࡸ᳃⨶ about contraposition or discrepancy between nature and us and depletion and domination of ୓㇟ࡸᩥ໬ࢆྵࡴ⮬ᚊⓗ࠿ࡘ⮬ᕫᙧᡂⓗ࡞ the nature. Its picture was of a heteronomous, ⤌⧊⣔࡜ࡋ࡚ࡢ⮬↛ീࢆồࡵࡿ◊✲ࡀࠊࢃࡀ deterministic and mechanical one. It has become ᅜྂ᮶ࡢ⮬↛ほࢆࡶཧ⪃࡟ࡋ࡞ࡀࡽ⾜ࢃࢀ a driving force behind the science and technology ࡚࠸ࡿࠋ to support a rich life of mass-production and mass-consumption. But, at the same time, it has caused public nuisance and environmental problems or disastrous nuclear power plant accidents. To cope with those results world is now seeking a new view of nature. A study to seek a picture of nature as autonomous and self-generating system that include human being as well as sum of things and culture is going on partly in reference to Japanese indigenous view of nature.

8 3. Traditional and Environmental Techniques 3. ி⏫ᐙࡢఏ⤫ⓗఫ⎔ቃᢏ⾡ of Townhouse in Kyoto

Today, Japan has traditional techniques of ௒ࡢࢃࡀᅜ࡟ࡣࠊࡑࡢ⊂⮬ࡢ⮬↛ほ࡟ࡶ࡜ residential environment which have been ࡙࠸࡚㛤Ⓨࡋ࡚ࡁࡓఏ⤫ⓗఫ⎔ቃᢏ⾡ࡀ࠶ developed on the basis of her unique view of ࡿࠋࡑࡢᢏ⾡ࢆࠊỤᡞ࠿ࡽ᫂἞ࠊ኱ṇࠊ᫛࿴ nature. We find clear evidence of the techniques ࡟࠿ࡅ࡚ᙧᡂࡋ࡚ࡁࡓி㒔ࡢ㧗ᐦᗘ࡞ᮌ㐀 in the town scape of wooden houses standing ࡢ⏫୪ࡳ࡟ぢࡿࡇ࡜ࡀ࡛ࡁࡿࠋࢃࡀᅜࡀ㙐ᅜ densely in a row in Kyoto which have been formed through the years of Edo (1603-1867) , ࢆ⥆ࡅࡓỤᡞ ᖺ㛫ࡣ᪥ᮏิᓥࡢ㈨※࡟౫ Meiji (1868-1912), Taisho (1912-1926) and Ꮡࡍࡿ⮬⤥⮬㊊࡛࠶ࡗࡓࠋࡲࡓ⸬ࡈ࡜࡟᪂⏣ Showa (1926-1989). During 300 years of Edo ࢆ㛤ᣅࡋࠊ≉⏘ရࢆ㛤Ⓨࡋࠊࡑࢀࡒࢀࡀ⮬⤥ period, a time when Japan closed the country to ࡋࡷࡋ ⮬㊊ࡢ⏕άࢆᕤኵࡋࡓࠋᖥᗓࡣዝౘ⚗Ṇ௧ࡸ foreign commerce, the nation lived a self- ࡕࡻ࠺ࡋࡁࡶࡃ sufficient life depending upon the resources of ⏫ ᘧ┠࡞࡝࡟ࡼࡗ࡚⠇⣙ࢆᙉไࡋࡓࡓࡵࠊ Japanese archipelago. On the other hand each Ụᡞ᫬௦࡟ࡣ┬࢚ࢿࡢࡓࡵࡢᵝࠎ࡞ᕤኵࡀ feudal caln developed new paddy field and ⾜ࢃࢀࡓࠋி⏫ᐙࡣ┬࢚ࢿᆺࡢఏ⤫ⓗఫ⎔ቃ encouraged production of specialty of the region ᢏ⾡ࡢᐆᗜ࡛࠶ࡿࡔࡅ࡛ࡣ࡞ࡃࠊࡑࡢᢏ⾡ࢆ in the efforts of realizing self-sufficiency. Japanese feudal government forced citizens to ๰ฟࡋࡓ※Ἠ࡛࠶ࡿఫࡲ࠸ᡭࡢᚰ㐵࠸ࡸ⏕ practice thrift by enforcing sumptuary law or άែᗘࠊࡑࡋ࡚ࡑࢀࡽࡀᙧᡂࡋࡓᩥ໬ࡢᐆᗜ encouraging cho-shikimoku (self-imposed town ࡛ࡶ࠶ࡿࠋᩥ㸱㸧 rule of ways of living), and so, various inventive energy-saving devices were practiced in the Edo period. As for Kyo-machiya (traditional townhouse of Kyoto), it is not only a treasure house with full of traditional techniques for living environment having been applied but also a reservoir of cultural assets i.e. residents’ attention of the house and their modus vivendi (life-style) from which the techniques derives and the culture 3) thus formed.

Traditional Environmental Techniques in ி⏫ᐙࡢఏ⤫ⓗఫ⎔ቃᢏ⾡ Kyo-machiya ࡉ࡚ி⏫ᐙࡢఏ⤫ⓗ࡞ఫ⎔ቃᢏ⾡࡟ࡣ࡝ Now, let us look at traditional environmental ࢇ࡞ࡶࡢࡀ࠶ࡿࡢࡔࢁ࠺࠿ࠋࡑࢀࡣࡲࡎᆅ⏘ techniques applied on Kyo-machiya. First of all, ᆅᾘࡢᘓ≀࡛࠶ࡿࡇ࡜ࡔࠋᆅඖࡢᮌࢆษࡾࠊ it is a house built with locally-produced and ᰕࡸᱱ࡟ࡋࠊᆅඖࡢᅵࢆᤐࡡ࡚ቨ࡟ࡋࠊ↝࠸ locally-consumed materials. Namely, local tree is cut, made into columns or beams, and local soil is ࡚ᒇ᰿࡟㍕ࡏࡿࠋ⮬↛ࡢᮦᩱࢆᑡࡋࡤ࠿ࡾຍ kneaded or baked to turn them into walls or roof ᕤࡋ࡚࠸ࡿ࠿ࡽᅵᆅࡢ㢼ᬒ࡟ㄪ࿴ࡍࡿࠋ㧗⢭ tiles. The natural material used with a little ᗘࡢ௙ཱྀࢆຍᕤࡋ࡚⤌ࡳ❧࡚ࡓᮌ㐀ఫᒃࡣ modification does not disturb the local landscape. ࡑࢀࢆᵓᡂࡍࡿྛ㒊ᮦࡀእ࠿ࡽ࠸ࡘ࡛ࡶぢ Wooden house fabricated with high-precision ࠼ࡿࡼ࠺࡟┿ቨࡢᵓᡂ࡟࡞ࡗ࡚࠸ࡿࠋࡑࡢࡓ column-pillar connection is designed with the ࡵ࡟⭉㣗࡞࡝ࢆⓎぢࡋࡸࡍ࠸ࡋࠊᰕᱱ࡞࡝ࡢ style of shinkabe (wall with exposed timber 㒊ᮦࡢྲྀ᭰ࠊゎయࠊ⛣タࡀ⡆༢࡛࠶ࡿࠋᒣࡢ pillars) so each timber component can be easily checked. It makes easy to find rot or decay if any, ໭ഃ࡟⏕࠼࡚࠸ࡓᶞࡣᐙࡢ໭ഃ࡟౑࠸ࠊ⏕࠼ 㸦ᅗ 㸧 and facilitate easy replacement of columns ࡚࠸ࡓ㏻ࡾ࡟ᰕࡢୖୗࢆỴࡵࡿࠋ and pillars, or dismantlement or removing and

9 reconstruction of the building. A timber from a ி⏫ᐙࡢᘓල㸦ᑻᑍᑻᑍศ㸸 tree grown on the northern face of a mountain is 㸧ࡸ␚㸦 ᑻ ᑍ ᑻ ᑍ ศ㸸 used on the northern part of the house, and the 㸧ࡣྠ୍ᑍἲ࡟つ᱁໬ࡉࢀ࡚࠸ࡿࡢ࡛ࠊ top and bottom of the pillar conforms to the same ࡝ࡢ⏫ᐙ࡛ࡶ෌฼⏝࡛ࡁࡿࠋ㸦ᅗ 㸧ᒇ᰿ࡢ⎰ࡶ with that of the growing tree. (Fig.3, Fig.4, Fig.5) In つ᱁໬ࡉࢀ࡚࠾ࡾ୍ᯛࡎࡘྲྀ᭰ྍ⬟࡛࠶ࡿࠋ Kyoto all door fittings are standardized into 5 ࡲࡓኟ࡟ࡣᗋࡢୖ࡟⡢⟙ࢆᩜࡁࠊኟᘓල࡟ධ shaku 7 sun ×3 shaku 1 sun 5 bu 㸦ᅗ 㸧 (1730×955mm) and tatami mat, 6 shaku 3 zun ࢀ᭰࠼ࡿࠋ ᪥ᮏࡢᘓ≀ࡣ኱ᒇ᰿ࢆࡲࡎ⪃ ×3 shaku 1 sun 5 bu (1910×955mm). They are ࠼ࠊࡑࡢ࿘ᅖ࡟῝࠸ᗊࢆṧࡋ࡞ࡀࡽࠊࡑࡢෆ reusable in any other Kyo-machiya townhouses. ഃ࡟㒊ᒇࢆタࡅࡿࠋᘓ≀ࡀ㧗ࡃ࡞ࢀࡤྛ㝵࡟ (Fig.6, Fig.7) Roof tile is also standardized to be ᗊࢆ௜ࡅ࡚ቨࢆ㢼㞵࠿ࡽᏲࡿࠋᗊࡢୗ࡟ࡣ⡘ able to be replaced by a piece of unit. In summer ࢆ᥃ࡅࡿࠋ⡘ࡣ㏻㢼ࠊ┠㞃ࡋࠊቨࡢಖㆤࠊ㞵 a sheet of wisteria mat is spread over the floor ࡢ྿ࡁ㎸ࡳ㜵Ṇ࡞࡝ከᵝ࡞ᙺ๭ࢆᯝࡓࡋࠊ⵳ and fixture for summer use replaces the ⇕ࢆࡋ࡞࠸Ᏻ౯࡞ᮦᩱ࡛࠶ࡿࠋࡔ࠿ࡽᐙࡢ໭ conventional one. (Fig.8) In designing a Japanese house, the main roof is planed first, and then ഃ࡟ࡶ༡ഃ࡟ࡶࠊኟ࡛ࡶ෤࡛ࡶ㌺ୗ࡟ྞࡾୗ 㸦ᅗ 㸧 leaving deep eaves edgewise rooms are allocated ࡆ࡚⨨ࡃࠋ ࡲࡓ᱁Ꮚࡶ㜵≢ࠊ㏻㢼࡟ᙺ under the roof. In the high-rising house, eaves are ❧ࡕࠊ᱁Ꮚࢆ㏻ࡋ࡚ෆ㒊࠿ࡽእࢆぢࡿࡇ࡜ࡀ installed on every floor to protect the walls from ࡛ࡁࡿࡀࠊእ࠿ࡽෆ㒊ࡣぢ࠼࡞࠸౽฼࡞⿦⨨ weather. Blinds or screens commonly function as ࡛࠶ࡿࠋ㸦ᅗ 㸧ྛ㒊ᒇࡣ࠸ࢁ࠸ࢁ࡞⏝㏵࡟౑ ventilator, blinder, protection of the wall, wind ⏝࡛ࡁࡿࡼ࠺࡟༢⣧࡞ᙧ࡛࠶ࡿࠋ㒊ᒇ࡟ᐙල breaker and other various facilities. Because they ࢆᅛᐃࡏࡎࠊᚲせ࡞᫬࡟ࡔࡅᣢ㎸ࡳࠊ⤊ࢃࡗ are made of cheap and regenerating materials, it ࡓࡽ㒊ᒇࡢእ࡟∦௜ࡅࡿࠋ㒊ᒇྡࡣࡑࡢ⏝㏵ can be hung either on the southern or northern exterior of the house, or, either in summer or in ࡛ࡣ࡞ࡃ኱ࡁࡉ࡛࿧ࡪࠋF.L.Wright ࡣࡑࡢⴭ ᩥ㸲㸧 winter. (Fig.9, Fig.10) The latticework serves for ᭩ࡢ୰࡛ゝࡗ࡚࠸ࡿࠋ anticrime purpose as well as for ventilation, and ࠕ͐༢⣧ࡉࡀᙜ↛ࡢࡇ࡜࡞ࡀࡽ᭱㧗࡛࠶ࡿ it is a convenient device in that it allows one to ᅜࢆⓎぢࡋࡓࠋࡇࢀࡽࡢ᪥ᮏᐙᒇࡢᗋࡣࠊࡍ look out of it but does not enable one to look in ࡭࡚ࡑࡢୖ࡛⏕άࡍࡿࡼ࠺࡟㐀ࡽࢀ࡚࠸ࡿࠋ (Fig.11, Fig.12) the interior. Each room has a simple ࡑࡢୖ࡛╀ࡾࠊࡑࡇ࡛㣗஦ࢆࡋࠊᰂࡽ࠿࡞ࡍ design so that it can be used for various purposes ࡭ࡍ࡭ࡋࡓ␚ࡢୖ࡟ᗙࡾࠊࡑࡋ࡚▂᝿ࡍࡿࠋ on various occasions. Furniture is not fixed in the ➜ࢆ྿ࡃࡢࡶ␚ࡢୖ࡞ࡽࠊᜊࢆᄱࡁࠊឡࢆㄒ room and it is brought in when necessary and taken out after use. The room is called not by it ࡿࡢࡶ␚ࡢୖ࡛࠶ࡿࠋ͐࡝ࢇ࡞≀ࡶࡇࡢ⚄⪷ use but by the size. F.L.Wright wrote in his book ࡞ᗋࡢୖ࡟࠸ࡘࡲ࡛ࡶᅛᐃࡋࡓ≀࡜ࡋ࡚⨨ as quoted below.4) ࡃࡇ࡜ࢆチࡉࢀ࡞࠸ࠋᐙ᪘ࡀ౑࠺ࡶࡢࡣࠊࡍ “At last I had found one country on earth ࡭࡚౑ࡗ࡚࠸࡞࠸࡜ࡁ࡟ࡣື࠿ࡏࡿࡼ࠺࡟ where simplicity, as natural, is supreme. The ࢹࢨ࢖ࣥࡉࢀࠊ㐺ᙜ࡞ሙᡤ࡟ὀព῝ࡃ⣡ࡵࡽ floors of these Japanese homes are all made to ࢀࡿࠋ͐ࡇࡢྂ࠸᪥ᮏࡢఫࡲ࠸ࡀࠊ⚾⮬㌟ࡀ live onʊto sleep on and eat from, to kneel upon ࡎࡗ࡜ⱞᚰࡋ࡚ࡸࡾ㐙ࡆࡼ࠺࡜ࡋ࡚࠸ࡓ⌧ soft silken mats and mediate upon. On which to ௦ⓗ࡞つ᱁໬ࡢ᏶඲࡞ぢᮏ࡛࠶ࡿࡢࢆⓎぢ play the flute, or to make love. Nothing is allowed to stand long as a fixture upon the sacred ࡋࡓࠋ͐ᐙࡣ඲㒊ࠊࡑࡢᑍἲࠊᙧ࡜ࡶ࡟ࡇࡢ floors of any Japanese home. Everything the ␚࡟ࡼࡗ࡚Ỵᐃࡉࢀࡿࠋ௙ษࡾࡢ㞀Ꮚࡶࡍ࡭ family uses is designed to be removed when not ࡚␚ࡢᑍἲ࡛࠶ࡿࠋ࡝ࢇ࡞ሙྜ࡛࠶ࢁ࠺࡜ in use and be carefully put in its proper ேࠎࡣࡳ࡞ ␚ᩜࠊ ␚ᩜࠊ࠶ࡿ࠸ࡣ ␚ place.…… And strangely enough, I found this ᩜࡢᐙ࡜ゝ࠺㢼࡟ヰࡍࠖ࡜᭩࠸࡚࠸ࡿࠋ ancient Japanesedwelling to be a perfect example ࡔ࠿ࡽᐙ᪘ᵓᡂࡀኚࢃࡗ࡚ࡶࠊᣢࡕ୺ࡀኚ of the modern standardizing I had myself been ࢃࡗ࡚ࡶᘓ࡚᭰࠼ࡿᚲせࡀ࡞࠸㛗ᑑ࿨ࡢఫ working out. ……The size and shape of all the Ꮿ࡛࠶ࡗࡓࠋ

10 houses are both determined by these mats. The sliding partitions all occur at the unit lines of mats. And they all speak of a nine, sixteen or thirty-six mat house, as the case may be.” It is a long-life residence that does not require refurbishment even when family make-up or the ownership should change in future.

Fig.3) Refurbishment of Kyo-machiya. Some members of Fig.4) Dismantlement and reconstruction in a new site; framework are partly replaced. connection of the threshold sill. ᅗ 3)୍㒊ࡢ㒊ᮦࢆ஺᥮ࡋࡓி⏫ᐙࡢᨵಟᕤ஦ ᅗ 4) Ⲕᐊࡢゎయ⛣⠏㸸ᩜᒃࡢ௙ཱྀ

㞀Ꮚ㸦ෆἲ㧗㸧 shoji (paper sliding-door) (inner height)

␚ tatami mat ᑻᑍᑻᑍ ੈ ੈ

Fig.5) Dismantlement and reconstruction in a new site; Fig.6) Standardization of tatami mat and sliding doors. connection of the pillar with the threshold sill. ᅗ 6) ␚࡜ᘓලࡢつ᱁໬ ᅗ 5) Ⲕᐊࡢゎయ⛣⠏㸸ᩜᒃࡢࡓࡵࡢᰕࡢ௙ཱྀ

Fig.7) A space created by standardized tatami mat and Fig.8) A Japanese-style room in summer with rattan mat fixture: Japanese-style rooms in a Kyo-machiya spread over the tatami mat floor and summer “Shiori-an” sliding doors: Kojima residence ᅗ 7) つ᱁໬ࡉࢀࡓ␚࡜ᘓල࡟ࡼࡿ✵㛫㸸⣸⧊ᗡ ᅗ 8) ኟࡀ᮶࡚⡢⟙ࢆᩜࡁኟ㞀Ꮚࢆධࢀࡓ࿴ᐊ㸸ᑠᓥ㑰

Fig.9) Blinds hanging even in winter. Fig.10) Blind(s) hanging on the verandah: Kojima residence ᅗ 9) ෤࡛ࡶࡘࡾࡉࡆ࡚࠸ࡿ⡘ ᅗ 10) ⦕ഃࡢ⡘㸸ᑠᓥ㑰

Fig.11) A sight of street seen through the lattice structure Fig.12) Exterior of the Kyo-machiya and its lattice of Kyo-machiya. structure seen from the street: Hata residence ᅗ 11) ⏫ᐙࡢ୰࠿ࡽ᱁Ꮚ㉺ࡋ࡟ぢࡓ㏻ࡾࡢ㢼ᬒ ᅗ 12) ㏻ࡾ࠿ࡽぢࡓ⏫ᐙࡢእほ࡜᱁Ꮚ㸸⛙ᐙ

12 Norm of Life of the Residents ఫࡲ࠸ᡭ㐩ࡢ⏕άࡢつ⠊ It was the norm of residents and craftsmen that ⊂⮬ࡢఏ⤫ⓗఫ⎔ቃᢏ⾡ࢆ๰㐀ࡋࡓࡢࡣࠊ has created unique traditional techniques in living ఫࡲ࠸ᡭࡸ⫋ேࡓࡕࡢつ⠊ࡍ࡞ࢃࡕ⏕άែ environment. That is to say, it was an attitude of ᗘ࡛࠶ࡗࡓࠋࡑࢀࡣఱ஦࡟ࡶೝ⣙ࢆ᪨࡜ࡋࠊ putting priority in thrift. They never bought ᚲせ࡞ࡶࡢ௨እࡣ⤯ᑐ࡟㈙ࢃ࡞࠸ࡀࠊ㈙࠺᫬ anything unless it is necessary. And yet, when ࡟ࡣⰋ࠸≀ࢆ㈙࠸ࠊ㛗ࡃ኱ษ࡟౑࠺ࠋ╔≀ࡣ they buy, they chose objects of good quality and used them long time with good care. Kimono is ⣒ࢆゎࡃ࡜⡆༢࡟ࡶ࡜ࡢᕸᆅ࡟࡞ࡿࠋࡑࢀࢆ easily unsewn to original cloth. And the cloth Ὑ࠸ࠊᰁࡵ┤ࡍ࡜ࡲࡓ᪂ࡋ࠸╔≀࡟௙❧࡚ࡽ again revives as a new kimono after it was ࢀࡿࠋࡇ࠺ࡋ࡚ᑡ࡞ࡃ࡜ࡶ୕௦ࡣྠࡌᕸᆅ࡛ washed, dyed and sewn. They used to make ࡑࢀࡒࢀࡢ╔≀ࢆసࡗࡓࠋὴᡭ࡛࡞࠸ࡇ࡜࡟ kimono using the same cloth at least for three Ẽࢆ㓄ࡾࠊ⏫ෆࡢேࠎ࡜ࡢඹᏑࢆ኱ษ࡟ࡋ࡞ generations. They cared not to be too flashy and ࡀࡽᬽࡽࡋࡓࠋఫࡲ࠸ᡭ㐩ࡢ⏕άែᗘࡣࡲࡓ lived having a high regard for the people in the ⚙ࡢᩍ࠼࡟ࡶఝ࡚࠸ࡿࠋ⚙ࡣ୍ேࡢே᱁⚄ࡢ community. Again, residents’ attitude of life seems to correspond with the teaching of zen. ᩍ⩏ࢆᏲࡾᩍ࠼ࡿ᐀ᩍ࡛ࡣ࡞࠸ࠋ୍ே୍ேࡀ Zen is not a religion to follow and teach the tenet ⮬ศࡢຊ࡛⮬ศ⮬㌟ࡢ୰࡟⮬ᚊⓗ࡞⢭⚄ࢆ of a single humanized divinity, but to help an సࡿࠊࡍ࡞ࢃࡕࠕ㐨ࠖࢆ✲ࡵࡿࡢࢆᡭຓࡅࡍ individual with building self-directed spirit in ࡿ᐀ᩍ࡛࠶ࡿࠋಟ⾜ൔࡓࡕࡣ⚙ᑎࡢ⿬ᗞ࡟㔝 himself. It is a religion to help pursuit “michi” i.e. ⳯ࢆ᱂ᇵࡋࠊ㣗஦ࢆసࡾࠊᤲ㝖ࡶࡍࡿࠋࡑࢀ to seek after truth. Zen monks cultivate ࡽࡢ୍ࡘ୍ࡘࡀಟ⾜࡛࠶ࡿࠋࡔ࠿ࡽᗢẸࡢ᪥ vegetables in the backyard of temples, prepare ᖖ⏕άࡢ୰࡟࠾࠸࡚ࡶࠕ㐨ࠖࢆ✲ࡵࡿ⚙ࡢಟ meals and clean the temple. Each activity is an ⾜ࡀྍ⬟࡛࠶ࡿࠋ᪥ᮏㄒ࡛ࡣᰂ㐨ࠊ๢㐨ࠊⲔ ascetic training for them. So, even in daily lives of common people, it is possible to practice the 㐨ࠊ⳹㐨࡜ఱ࡛ࡶࠕ㐨ࠖࡀ௜ࡃࠋⱁ⾡ࡸࢫ࣏ training of Zen Buddhism to pursuit “michi”. The ࣮ࢶࡢ୰࡟ࡶ⚙ࡀ࠶ࡿࠋ word “michi” or “do” is used in many terms such as Judo, kendo, sado (the way of tea ceremony), kado (art of flower arrangement). We can find Zen in arts and sports.

Formation of Culture ᩥ໬ࡢᙧᡂ The Culture of Kyo-machiya was formed ி⏫ᐙࡢᩥ໬ࡣࠊ⏫⾗ࡢ⏕άࡀᖥᗓࡢ⧞ࡾ during Edo Period, when their life was under the ㏉ࡍዝౘ⚗Ṇ௧ࡸ⏫᥅࡟⦡ࡽࢀ࡚࠸ࡓỤᡞ restrictions of sumptuary law repeatedly issued ᫬௦࡟ᙧᡂࡉࢀࡓࠋ≉࡟⏫୪ࡳࡣࠊỤᡞึᮇ by the Tokugawa governmente as well as ࡟ẚ࡭ࡿ࡜ࠊ⏫᥅࡞࡝࡟ࡼࡗ࡚ᆅ࿡࡞እほ࡟ self-imposed regulation of the town. Especially ⤫ไࡉࢀࡓࠋࡋ࠿ࡋ⏫୪ࡳࡢዟ࡟⫱ࡲࢀࡓᗞ the town scape was confined to that of modest ࡸᗙᩜࡸⲔᐊࡣࠕ࠸ࡁࠖ㸦ி㒔࡛ࡣࠕࡍ࠸ࠖ㸧 appearance compared with that of the early Edo ࡜࿧ࡤࢀࡿ⾲࡜ࡣ␗࡞ࡿ⊂⮬ࡢୡ⏺ࢆᙧᡂ period by the town rule. On the other hand, the garden, the room or tea ceremony room in the ࡋࡓࠋࡑࢀࡽࡣ㠀ᑐ⛠ࡢ✵㛫ᵓᡂࠊ␗㉁࡞ᮦ back created a world of their own called “iki” ᩱࡢㄪ࿴ࠊᆅ࿡࡞ᅛ᭷ࡢⰍ࡞࡝࡟ࡼࡗ࡚ᵓᡂ (chic or “sui” in Kyoto) quite different from the ࡉࢀࠊ⦪㛗ࡢே≀ീࢆዲࡳࠊ⦪⦤ࡢ╔≀ࡸ᱁ front of the house. They were composed of Ꮚ࡟ࡼࡗ࡚⾲⌧ࡉࢀࡓࠋᩥ㸳㸧 asymmetric space structure, harmonization of ி⏫ᐙࡢᗞࡣࠊᖹᏳ᫬௦ᮎ࠿ࡽጞࡲࡿ heterogeneous materials, somber proper color etc., ࡜ࢇࡏ࠸ࡋࡷ and a portrait longer than wide was preferred, and 㐘ୡ⪅ࡢႠࢇࡔᒣᒃࡢⲡᗡࢆ※ὶ࡜ࡋ࡚ࠊ୰ iki was expressed in vertical-striped kimono or ୡ࠿ࡽ㏆ୡ࡟⮳ࡿிࡢ⏫࡟ࠊ⏫ே㐩ࡀᙧᡂࡋ 5) lattice structure. ࡓᗞ࡛࠶ࡾࠊࠕᕷ୰ࡢᒣᒃࠖ࡜࿧ࡤࢀ࡚ࠊ⊂ ⮬ࡢᩥ໬ࢆᙧᡂࡋࡓࠋ ᅗ 㸧ࠕᕷ୰ࡢᒣᒃࠖ

13 The garden of Kyo-machiya called ”shichu ࡜ࡣࠊᗞࡢ୰࡟ཎᑍ኱ࡢᶞᮌࢆ᳜࠼࡚ᒣᒃࡢ -no-sankyo” (garden in town house designed as if ㊃ࢆ⾲⌧ࡋࡓࡶࡢ࡛࠶ࡾࠊ኱⮬↛ࢆ㇟ᚩⓗ࡟ (Fig.13, Fig.14) it were located in a mountain) was ࡋࡏࡁ ⦰ᑠࡋࡓࠕဉᑻ༓㔛ࠖᩥ㸴㸧ࡢᑎ㝔ࡢ▼ᗞ࡜ࡣ designed by residents in a town from the medieval to early-modern times to form the ␗࡞ࡿࠋ⋤ᮅࡢ㞞࡜ᒣ㔛ࡢ㢼ᬒឤࢆᗏὶ࡟ࠊ culture of its own. It was the downstream of the Ⲕࡢ‮ࡢ౧ࡧࡢᩥ໬࡜ࠊ⏫ேࡢάຊ࡟ࡼࡗ࡚ thatched hut for hermit in the mountain to date 㧗ᐦᗘ࡞㒔ᕷᆺఫᒃ࡛࠶ࡿி⏫ᐙࡢ୰࡟ⰼ back to the late Heian period. Unlike the stone 㛤࠸ࡓᗞ࡛࠶ࡿࠋ gardens in the temples, which show symbolic ⌧ᅾࡢ⎔ቃၥ㢟ࡣᩥ໬࡜ࡣ࠾ࡼࡑ↓⦕࡛ miniature of great nature based on the idea of ࠶ࡿࠋ౛࠼ࡤ┬࢚ࢿࡢࡓࡵ࡟⥳໬ࢆዡບࡍࡿ “shiseki senri” (a thousand miles in a square foot ࡀࠊ⥳⿕⋡ࡔࡅࡀၥ㢟࡟࡞ࡾࠊ࡝ࡢࡼ࠺࡟⥳ of space; evoking a sense of great depth in a 6) ࢆ᳜࠼ࡿࡢ࠿ࡣ㆟ㄽ࡟࡞ࡽ࡞࠸ࠋ࠸ࡲ┬࢚ࢿ small area ), “shichu-no-sankyo” has full-scale trees planted to create an atmosphere in a ࡟ࡼࡗ࡚࡝ࡢࡼ࠺࡞ᩥ໬ࢆ๰㐀ࡋࡼ࠺࡜ࡋ mountain. The garden was developed in the ࡚࠸ࡿࡢ࠿ࡀぢ࠼࡚ࡇ࡞࠸ࠋ౛࠼ࡤᒇ᰿ࡢୖ Kyo-machiya in densely-built up urban area by ࢆ⥳࡛そ࠺࡜⿵ຓ㔠ࡀฟࡿࠋࡋ࠿ࡋఫࡲ࠸ᡭ the culture of “wabi” of tea ceremony and vitality ࠿ࡽぢ࠼࡞࠸ᒇ᰿ࡢୖࢆࡓࡔそ࠺ࡔࡅ࡛ࡣ of townsmen, in which under stream of elegance ⬟ࡀ࡞࠸ࠋᘓ≀ࡢୖ㒊ࢆࢭࢵࢺࣂࢵࢡࡋ࡚ᵓ of royal dynasty and taste of rustic scenery was ᡂࡋࡓᒇୖᗞᅬ࡞࡝ࡢᕤኵ࡟ࡼࡗ࡚ࠊᒇୖࡢ lying. ⥳ࢆᴦࡋࡵࡿࡼ࠺࡞ᩥ໬ⓗ⎔ቃࢆᘓ⠏ᐙࡣ Present environmental issue is absurdly irrelevant to culture. For example, when a ๰㐀ࡋ࡞ࡅࢀࡤ࡞ࡽ࡞࠸ࠋࡑࢀࡀ⎔ቃၥ㢟ࢆ tree-planting campaign is encouraged to promote ๓㐍ࡉࡏࡿࠋ energy-saving, only the green coverage ratio is brought up and the way of planting trees does not come to a discussion. We cannot see what culture is likely to be created upon energy-saving effort. To cite a case, one is subsidized when he covers the roof with greenery. But mere coverage of the roof invisible to residents is not enough. Architects are required to create cultural environment where one can enjoy greenery on the rooftop, say, by creating a space for garden by setting back the top-story structure. Such effort will promote a solution of environmental problem.

Fig. 13) Shichu-no-sankyo: Inner garden of Kadoya. Fig.14) A garden and “Shichu-no-sankyo” integrated ᅗ 13) ᕷ୰ࡢᒣᒃ ゅᒇࡢ୰ᗞ with the room: Hataya ᅗ 14) ᐊෆ࡜୍య࡟࡞ࡗࡓᗞࠕᕷ୰ࡢᒣᒃࠖ㸸⛙ᐙ

14 4. Historical Environmental Ethics and 4. Ṕྐⓗ⎔ቃ೔⌮ Modern Architecture in Japan ࠸ࢇ࠼࠸ࡽ࠸ࡉࢇ ᩥ㸵㸧 Junichiro Tanizaki wrote in his “In praise of ㇂ᓮ₶୍㑻ࡣࠗ㝜⩸♩ㆭ࠘ ࡢ୰࡟᭩࠸ shadows7) .” “Of course, I do not dare to argue ࡚࠸ࡿࠋࠕᬮᡣ࡟ࡋࢁࠊ౽ჾ࡟ࡋࢁࠊᩥ᫂ࡢ against introduction of modern amenity, may it ฼ჾࢆྲྀࡾධࢀࡿࡢ࡟໚ㄽ␗㆟ࡣ࡞࠸ࡅࢀ be heating equipment or closet stool, but I ࡝ࡶࠊࡑࢀ࡞ࡽࡑࢀ࡛ࠊ࡞ࡐࡶ࠺ᑡࡋࢃࢀࢃ wonder why they do not try to modify it little ࢀࡢ⩦័ࡸ㊃࿡⏕άࢆ㔜ࢇࡌࠊࡑࢀ࡟㡰ᛂࡍ more in consideration of our custom, liking or ࡿࡼ࠺࡟ᨵⰋࢆຍ࠼࡞࠸ࡢࡔࢁ࠺࠿ࠋࠖࠕࡶࡋ way of life so that it suits us Japanese.” “If we ࢃࢀࢃࢀࡀࢃࢀࢃࢀࡢ⊂⮬ࡢ≀⌮Ꮫࢆ᭷ࡋࠊ have had physical science and chemistry of our own, technologies or industries should have ໬Ꮫࢆ᭷ࡋ࡚࠸ࡓ࡞ࡽࡤࠊࡑࢀ࡟ᇶ࡙ࡃᢏ⾡ naturally developed otherwise and we should ࡸᕤᴗࡶࡲࡓ⮬ࡎ࠿ࡽูᵝࡢⓎᒎࢆ㐙ࡆࠊ᪥ have created matters better conform to our ⏝ⓒ⯡ࡢᶵᲔ࡛ࡶࠊ⸆ရ࡛ࡶࠊᕤ⸤ရ࡛ࡶࠊ nationality may it be commonly used machines, ࡶࡗ࡜ࢃࢀࢃࢀࡢᅜẸᛶ࡟ྜ⮴ࡍࡿࡼ࠺࡞ medicine or work of art, shouldn’t we?” ≀ࡀ⏕ࢀ࡚ࡣ࠸࡞࠿ࡗࡓ࡛࠶ࢁ࠺࠿ࠋࠖ This is the very view of culture which we need ࡇࢀࡣࡲࡉ࡟௒ࡢᡃࠎ࡟ᚲせ࡞ᩥ໬ㄽ࡛ to think about. Since Meiji period, in order to ࠶ࡿࠋ᫂἞௨㝆ࡢᛴ㏿࡞ᩥ᫂໬ࡢࡓࡵ࡟ࠊ᪥ rapidly civilize the nation, the Japanese gave up ᮏேࡣࡑࢀࡲ࡛ࡢᩥ໬ࢆᨺᲠࡋࠊすḢࡢᩥ≀ traditional conventional culture and hurriedly taken in the Western objects to their own life. ࢆᛴ࠸࡛⮬ࡽࡢ⏕άࡢ୰࡟ᑟධࡋࡓࠋከࡃࡢ Thereafter we have absorbed, digested, ᢏ⾡ࡸ⛉Ꮫࢆ྾཰ࡋࠊᾘ໬ࡋࠊ㛤Ⓨࡋࠊ࠸ࡲ developed and acquired multiple technologies ࡸ⛉Ꮫᢏ⾡࡛ࡣୡ⏺ࡢ᭱ඛ➃࡟࠸ࡿࠋࡋ࠿ࡋ and sciences. And now we are world most ࡇࡇ࡛ࡶ࠺୍ᗘࠊ᫂἞࠿ࡽࡢṔྐࢆぢ┤ࡋࠊ advanced nation in science and technology. But ࡑࡢᅜẸᛶࠊ⮬↛ࡸẼೃࠊᅛ᭷ࡢᩥ໬࡜࡜ࡶ isn’t it time we reviewed the history after Meiji ࡟ࠊࢃࡀᅜࡢ᪥⏝ⓒ⯡ࡢᶵᲔࠊ⸆ရࠊᕤⱁရࠊ period to reconsider machines around us, ఏ⤫ⓗఫ⎔ቃᢏ⾡ࠊࡑࡋ࡚ࢃࡀᅜᅛ᭷ࡢ⮬↛ medicine, work of art or traditional and living ほࢆぢࡘࡵ┤ࡍ࡭ࡁ᫬࡛ࡣ࡞࠿ࢁ࠺࠿ࠋ environmental technique, in the context of national characteristics, nature or climate, specific ࡋ࠿ࡋ᫂἞࠿ࡽጞࡲࡗࡓࢃࡀᅜࡢ㏆௦ᘓ culture of Japan, and unique view of nature? ⠏ࡣࠊ➨஧ḟ኱ᡓࡸࡑࡢᚋࡢࣂࣈࣝ⤒῭ࠊ࢔ As for modern architecture as far back as Meiji ࣓ࣜ࢝ᆺࡢ኱㔞⏕⏘࣭኱㔞ᾘ㈝ࢆ๓ᥦ࡟ࡋࡓ period has substantially changed responding to ⏕άᵝᘧ࡬ࡢኚ໬࡟ࡼࡗ࡚኱ࡁࡃኚࢃࡗࡓࠋ the occurrence of the Second World War and ኱㔞ࡢᘓタᢞ㈨ࡀጞࡲࡗࡓ ᖺ௦࡟ᘓ࡚ pursuant bubble economy or change in mode of ࡽࢀࡓ㏆௦ᘓ⠏ࡣࠊ࠸ࡲ⠏ ᖺࢆ㏄࠼࡚࠸ life to American-style life which depends ࡿࠋࢃࡀᅜࡢᩥ໬㈈࡟࡞ࡾ࠺ࡿᖺ㱋࡟㐩ࡋࡓࠋ mass-production and mass-consumption. Modern ᖺ௦ࡣ ୡ⣖ึ㢌ࡢすḢࣔࢲࢽࢬ࣒ᘓ architecture which was built in 1960s, years when massive investment in construction ⠏࠿ࡽ⬺⓶ࡋࠊࢃࡀᅜᅛ᭷ࡢ⌧௦ᘓ⠏ࢆᶍ⣴ business began, is going to see its 50 years ࡋጞࡵࡓ᫬௦࡛࠶ࡿࠋࡇࡢᅜࡢఏ⤫ⓗᘓ⠏ࡢ anniversary. They are now old enough to be ≉ᚩࢆ㇂ᓮ₶୍㑻ࡣ᫛࿴㸶ᖺ࡟ⴭࡋࡓࠗ㝜⩸♩ㆭ࠘ nominated national cultural assets. 1960s was the ࡟ḟࡢࡼ࠺࡟㏙࡭࡚࠸ࡿࠋࠕᒇ᰿࡜ப࠺ചࢆᣑࡆࠊ time when Japan began to seek for Japanese ኱ᆅ࡟᪥࠿ࡆࢆⴠࡋࠊࡑࡢⷧᬯ࠸㝜⩸࡟ᐙ㐀ࡾࢆ modern architecture of its own style moving ࡋࠊࡑࡋ࡚ᗊࡸ⦕ഃ࡟ࡼࡗ୍࡚ᒙගࢆ㐲ࡊࡅࠊࡑ away from the influence of the architecture of ࡢᐙࡢጼࡢ≉ᚩࡀ῝࠸ᗊࡢୗ࡟࡛ࡁࡿ⃰࠸㜌࡟ Western Modernism of the early 20th century. In 7) ࠶ࡿࠋࠖ౛࠼ࡤࠊ୍ࡘࡢ኱ᒇ᰿ࡀసࡿ῝࠸ᗊࡢୗ his book “In Praise of Shadows ” published in 1933, Junichiro Tanizaki described the feature of ࡟ࠊࢸࣛࢫࡸḍᖸࢆタࡅࠊࡑࡢ୰࡟኱ᑠࡢ࣮࣍ࣝ traditional architecture of Japan as ࡸ఍㆟ᐊࢆໟࡳ㎸ࢇࡔࠊᑎ㝔ࡢࡼ࠺࡟ⴠࡕ╔࠸ࡓ follows. “An umbrella named roof unfolds itself ๓ᕝᅜ⏨ࡢி㒔఍㤋ࡸࠊྛ㝵ࡢᗊࡸ࣋ࣛࣥࢲࡀ

15 to throw a shadow on the ground. And in its ஬㔜ࡢሪࡢࡼ࠺࡟⨾ࡋ࠸୹ୗ೺୕ࡢ㤶ᕝ┴ᗇ⯋ dusky shadow, a house is built. The house moves ࡞࡝ࡀࡑࡢ౛࡛࠶ࡿࠋ᫬௦ࢆ௦⾲ࡍࡿࡇࡢࡼ࠺ farther away the light because of its eaves or ࡞Ṕྐⓗᘓ≀ࡢ౯್ࡢಖᏑ࡟㝿ࡋ࡚ࠊᘓ≀ࡢ verandahs and its features rest in the thick ᶵ⬟ࡢᨵၿ࡜ࡑࡢព໶ࡢಖᏑࢆኳ⛗࡟᥃ࡅ darkness created under the deep eaves.” His ࡚ಖᏑၥ㢟ࢆ㆟ㄽࡍ࡭ࡁ࡛ࡣ࡞࠸ࠋࡇࡢၥ㢟 description well applies to the following ࡣᆅ⌫⎔ቃ೔⌮࡜ྠࡌࡼ࠺࡟ࠊṔྐⓗ⎔ቃ೔ examples. The first example is the Kyoto Kaikan (Kyoto International Conference Hall) designed ⌮ࡢၥ㢟࡛࠶ࡿࠋ௒ࡢᡃࠎࡢ⏕άࢆ≛≅࡟ࡋ by Kunio Maekawa, which is a building as quiet ࡚࡛ࡶࠊࡲࡔぢࡠᮍ᮶ࡢᏊᏞࡢࡓࡵ࡟ࠊ㇏࠿ and settled as a temple. It houses terraces and ࡞Ṕྐⓗ⎔ቃࡀᚲせ࡛࠶ࡿ࠿࡝࠺࠿ࢆ᳨ウ parapets under the deep eaves of the single grand ࡍ࡭ࡁ࡛࠶ࡿࠋࡶࡋᚲせ࡛࠶ࡿ࡞ࡽࡤࠊ௒ࡢ roof as if to wrap the halls of various sizes and ᡃࠎࡢ⏕άࢆ⮬ไࡍ࡭ࡁ࡛࠶ࡿࠋ࡞ࡐ࡞ࡽࡑ conference rooms inside. The second example is ࢀࡣᡃࠎࡢ೔⌮ࡢၥ㢟࡛࠶ࡿ࠿ࡽࠋ௒ࢃࢀࢃ the prefectural government office building ࢀࡢከࡃࡀࠊඛே㐩ࡀᏲࡗ࡚ࡁࡓṔྐ㒔ᕷ࡟ designed by Kenzo Tange, a beauty of the building with eaves and verandahs on every floor ఫࡳࠊ࠶ࡿ࠸ࡣࡣࡿࡤࡿᆅ⌫ࡢ⿬ഃ࠿ࡽゼࢀ reminds viewers of a five-storied pagoda. In the ࡿࡇ࡜࡟ࡼࡗ࡚ࠊࡑࡢ୍ே୍ேࡀࡑࢀࡒࢀࡢ course of preservation of the value of major ே⏕ࢆ࡝ࢀࡔࡅ㇏࠿࡟ࡋ࡚࠸ࡿ࠿ࢆ⪃࠼࡚ historical architecture, matters should not be ࡳࢀࡤࡍࡄࢃ࠿ࡿࡇ࡜࡛࠶ࡿࠋ discussed comparing and contrasting functional improvement of the building and preservation of its design. It is a problem of both global environmental ethics and historical environmental ethics. It should be considered whether or not we need to preserve rich historical environment for our descendants to come even if we have to sacrifice our life now. We have to constrain ourselves in our life if it is necessary. It is a matter of our ethics. The answer will be easily found when think of how much lives of each of us are enriched with many of us living in the historical cities our ancestors has secured or visiting them from the other side of the earth.

References ཧ⪃ᩥ⊩ 1) “Yoshio Tsukio’s “Truth of environmental revolution” The 9th ᩥ㸯 ࠕ᭶ᑿ჆⏨ࡢࠗ⎔ቃ㠉࿨ࡢ┿┦࠘➨ ᅇ ㏻ㄝ࡜ࡣ┦㐪 session View point different from the conventional environmental ࡍࡿ⎔ቃၥ㢟ࡢどⅬ㸦㸧ࠖ issue (March 6, 2009) ᭶ᑿ჆⏨ : Yoshio Tsukio http://eco.nikkeibp.co.jp/article/column/20090304/100943/ ;http://eco.nikkeibp.co.jp/article/column/20090304/100943/ ᩥ㸰 ୍ࠗㄒࡢ㎡඾ ⮬↛࠘ࠊఀᮾಇኴ㑻 2) “Ichigo-no-Jiten :Shizen” (A dictionary of one word: Nature) : 㸦ᰴᘧ఍♫୕┬ᇽ㸧 Shuntaro Ito ( Sanseido Publishing co.) ᩥ㸱 ࠗி⏫ᐙࡢ⎔ቃᢏ⾡࡜⏕άែᗘࡑࡋ࡚ᩥ໬ࡢᙧᡂ࠘ 3) “Environmental Technique in Traditional Town House in Kyoto ᒸ㷂⏒ᖾࠊ኱㇂Ꮥᙪࠊ㕥ᮌ฼཭ࠊኳ␊⚽⛅⦅ (Kyoo-machiya) and Modus Vivendi and Culture Formation of 㸦ṊᗜᕝዪᏊ኱Ꮫฟ∧㒊ࠊ㸧 its Residents ᩥ㸲 ࠗࣛ࢖ࢺࡢᘓ⠏ㄽ࠘ࣇࣛࣥࢡ࣭ࣟ࢖ࢻ࣭ࣛ࢖ࢺⴭ : Shigeyuki Okazaki, Takahiko Otani, Toshitomo Suzuki, Hideaki Tenbata (ed.) ( Publishing Department, MWU, 2011) ࢚ࢻ࣮࣭࢞࢝࢘ࣇ࣐ࣥ⦅ ㇂ᕝṇᕫࠊ╬Ꮚඹヂ

4) “Wright no kenchiku-ron” : Frank Lloyd Wright )/:ULJKW $1$0(5,&$1$5&+,7(&785( ; Edgar Kaufmann(ed.) ; Masami & Mutsuko Tanigawa )5$1.//2<':5,*+7(',7('%<('*$5.$8)0$11 (translation) 㸦+25,=2135(661(:<25.㸧 5) “Iki-no-kozo” (The structure of Detachment) :Kuki Shuzo 1930 ᩥ㸳 ࠗ࠸ࡁࡢᵓ㐀࠘ࠊ஑㨣࿘୕ࠊ (Iwanami Shuppan, 1979) 㸦ᒾἼฟ∧ࠊ㸧 6) “Iwanami Dictionary of Japanese Garden” :Kenkichi Ono ᩥ㸴 ࠗᒾἼ᪥ᮏᗞᅬ㎡඾࠘ᑠ㔝೺ྜྷ (Iwanami Shoten, 2004) 7) “In-ei rai-san” (In praise of Shadows): Junichiro Tanizaki, 1933 㸦ᒾἼ᭩ᗑࠊ㸧 (Chuo-Koron-Shinsha, 1975) ᩥ㸵 ࠗ㝜⩸♩ㆭ࠘ࠊ㇂ᓮ₶୍㑻ࠊ 㸦୰ኸබㄽ᪂♫ࠊ㸧