甲府の建て方が始まった。大きな寄棟勾配屋根内側のコア部分のたくさんの柱で支えて、外壁をフリーにしようという構造。構造設計は金箱事務所の辻君。外装はモルタルと鉄板、内装は木のような石膏ボード。だいぶ前にホタルイカというレストランで使ったのを思い出し、また使ってみることにした。The construction of the Kofu began. We designed the structure to free the exterior walls by supporting the large pitched roof with the inner core of many columns. We designed the exterior made of mortar and steel plates, and the interior made of plasterboard with wood print. I remembered that I used it a long time ago for a restaurant called Firefly Squid, so I decided to use it again.

僕は白いシャツやパンツを多く持っていて白いものを着ていることが多い。しかし建築の場合はなるべく白くしないようにと思っている。と言いなら白い壁という本を翻訳している。白はモダニズムというイズムのレッテルであると同時に多様なデザインの広がりを切り詰める還元剤なのである。そして近代とはこの切り詰め還元主義であると説明したのがブルーノ・ラトゥールである。今日『白い物』という本が届いた。白が大好きで身の回りの服からカバンから食器から全部白い伊藤まさこさんの白いもの写真集である。伊藤さんも生活の風景を切り詰めているのである。いいなあと思う一方ラトゥールに怒らせそうな気にもなる。

I have a lot of white shirts and pants, and I often wear white stuff. But in the case of architecture, I try to keep it as not as white as possible. I’m translating a book called “White Walls” if you want to say that. White is a label for the ism of modernism, and at the same time, truncates the spread of diverse designs. It is a reducing agent. And it was Bruno Latour who explained that modernity is this truncated reductionism. Today I received the book “White Things.” It is a book of photographs of white things by Masako Ito, who loves white, and whose clothes, bags, and tableware are all white. There is. Mr. Itoh is also cutting down the landscape of his life. On the one hand, I like it, but on the other hand, I feel Latour will offend by it.

歩道橋を考えていたら『メディアとしてのコンクリート』に出ていたアウトバーンの歩道橋を思い出した。アウトバーンはナチが愛国心を高めるために作った道路なのでドイツの風光明媚なところを通り、そこにかかる歩道橋は風景を切り抜くようにできていると説明されていた。そんなことを思ってスケッチを描いてスタッフに渡して帰ってきたのだが共有されたスキャンが逆さまなのには笑った。

I was thinking about the pedestrian bridge. It occurred to me that pedestrian bridge on the Autobahn that was in “Concrete as Media”. That reminds me. The Autobahn was built by the Nazis to increase patriotism, so it goes through the scenic parts of Germany. The author explained that they designed the pedestrian bridge over it to cut through the landscape beautifully. With that in mind, I drew a sketch, handed it to the staff, and came back to find that the scans that they shared I laughed at the upside-down.

JIAには17の委員会や全国会議がある。何をしているか会員にお知らせすべく委員長インタビューを開始。初回はJIA の４つの賞(大賞、環境賞、25年賞、新人賞)を取り仕切る表彰委員長の今村創平さん。コロナ禍の中賞の審査を行う決断をしたのは、賞の継続性が翔の価値を担保するからと考えてのことだと言う。学会も学会賞審査をするか否かで議論したが同様に行う決定に至った。

しかし日本は学会とJIA が似たような賞を出しているが、JIAは学会と差別化してもいい。世界から受賞を受けつけるとか。今年始めたミース財団主催の若手に与える賞などドイツの文化戦略ともとれるが、ベネチアに展示去れるのだから、若手が世界に羽ばたく登竜門となるだろう。日本の賞は日本の賞でしかない。

JIA has 17 committees and national conferences. A chairperson interview is started to inform members of what they are doing. For the first time, Souhei Imamura, the chair of the award committee, They are in charge of four JIA awards (Grand Prize, Environmental Award, 25th Year Award, and New Face Award). He said he decided to examine the Prize even in COVID-19 because the continuity of the prize secured award’s value. AIJ also discussed about whether or not to make an award this year then came to a similar decision.

However, in Japan, the JIA and the AIJ give similar awards, but the JIA may be differentiated from the AIJ. For example JIA Receive an award from the world, It can be considered as a German cultural strategy, such as the award given to young people sponsored by the Mies Foundation this year, but since it will be exhibited in Venice,It will be  the gateway to the world for young people . Japanese awards are only Japanese awards.

東大、安原・平野スタジオのファイナルレビューを近藤哲夫さんとゲストで行う。中間レビューにも参加させていただいたので理解が深まった。２２人全員が個人プロジェクトで指導者は大変だったでしょう。一人の脱落者もないのは素晴らしい。33分の２が海外の学生というのも東大らしい。テヘランの学生はテヘランから参加していた。手前味噌だがUCLAの時も坂牛研のカレンがいいプロジェクトをやっていた。ここでも横山君のプロジェクトはなかなか素晴らしかった。

I participated in the final review of Yasuhara and Hirano studio at the University of Tokyo and with Tetsuo Kondo as a guest. I was able to participate in the mid-term review so I could better understand it, and all 22 of them were able to work on their projects. The leaders’ hard work was evident: a third of the students were from abroad, and the Iranian students were from Tehran. Nowadays. I may be self-satisfied, but Cullen from the Sakaushi laboratory had a great project when I was at UCLA, and here again, Yokoyama was a great example of this. I’m glad to see that.

リスボンでやる予定が日本てやることになってしまったシザ研究。ディーバを使ってシーザ空間の光環境をシミュレーションして分かるのは照度が均一ではない、かと言って不均一なのでもない。空間が異なる形に分節され、それぞれが異なる照度を持つ。

A study on Alvaro Siza that has been planned to be conducted in Lisbon is actually being done in Japan. Simulating the light environment in the Size  space does mean that the illuminance is not uniform, but it is not even neither. The space is segmented into different shapes, each with different illuminance.

ブルーノ•ラトゥールといえば、アクターネットワークの提唱者のように言われるが提唱者は彼ではない。しかし彼のそこまでの思索は必然的にACNへ繋がる。それは彼のテクノロジーへの問いにある。テクノロジーは自律的なものか社会構成的(社会が作る他律的なものか)という問いで彼はどちらでもあると言う立場をとる。テクノロジーを、建築と置き換えると建築もさ自律的であり社会構成的という私の意見と一致する。

博士論文でO君は篠原一男作家論を書いたがこれは自律的側面からの分析である。副査からは時代との関係性を問われるが時代が篠原建築を作り上げた側面はもちろんある。いや自律的に見える篠原一男は社会が作ったと言ってもいい。しかし恐らくこの篠原一男の社会構成的側面はそれだけで博士論文一本分の内容となるだろう。もちろんこうした二分論を前提としない、アクターネットワーク的分析は原理としてはあるのだろうが今のところ具体的な方法論が思い浮かばない。

Bruno Latour is said to be an actor network advocate, but he is not. However, his thoughts inevitably lead to ACN. It is a question of his technology. He takes the position that he is both in the question of whether technology is autonomous or social constructive (whether it is a heterogeneous thing created by society). Replacing technology with architecture is in agreement with my opinion that architecture is also autonomous and social constructive.

In his doctoral dissertation, Mr. O wrote about Kazuo Shinohara, which is an analysis from an autonomous perspective. Although the relations with the times are questioned by the sub-inspectors, there are of course aspects that created the Shinohara architecture. No, Kazuo Shinohara, who looks autonomous, can be said to have been created by society. However, it is likely that Kazuo Shinohara’s social constructive aspects will be the contents of another doctoral dissertation. Of course, there is an actor-network analysis that does not assume such dichotomy, but as of now, I cannot think of a concrete methodology.

鯛が安かったので野菜と一緒にグリル。最近やっとわかったグリルとオーブンの差。グリルは上下加熱、オーブンは4面加熱で温度設定可能。どの料理にどっちを使うべきかは未だ分からず。

The sea bream were cheap so I grilled them with vegetables. The difference between the grill and the oven, which I finally noticed recently. The heating of the grill is from above and below and the heating of the oven is from four sides and the temperature can be setI But I still don’t know which function should be applied to which dish.