ラリック展新館の会場構成は中山英之さん。会場の半分は何も置かず影を展示。
Hideyuki Nakayama designed the display of the Lalique Exhibition at the garden museum new building. Half of the venue displays shadows without placing anything.

拡張するファッションを水戸まで行って見た時にキュレートした林央子の視点の新しさに軽いショックを覚えた。あれからだいぶたったが、この本はあの時から題名が決まっていたそうだ。つくる理由ってなんだろう？自問してしまう。
I was slightly shocked by the new perspective of Nakako Hayashi, who curated when I went to Mito to see the expanding fashion. It’s been a long time since then, but it seems that the title of this book has been decided since then. What is the reason for making it? I ask myself.

張り切って始めたメルカリだが大分売ったけど一万円に満たない。そしてもう売るものがあまり無い。高価なものは買わないし、記念品は捨てるから当然かもしれない。配偶者がやればきっとだいぶ売り上げるだろうがやらないだろうなあ？やるかなあ？I started Mercari enthusiastically, then I sold a lot, but it was less than 10,000 yen. And there isn’t much to sell anymore. It may be natural because I don’t buy expensive things and throw away souvenirs. If my spouse does it, I’m sure she will sell millions, but I don’t think she will. Does she want to do it?

17年使ったバリカンを最近買い替えた。Recently, I replaced the hair clippers that I had been using for 17 years with new hair clippers.

著者は日本近代建築通史が存在しなかったのには70年代あたりに建築史の断絶があったからだとする。そしてその以前を国家的段階、以後をポスト国家的段階とした。僕などはポスト国家的段階の教育を受けポスト国家的段階の設計事務所（日建設計）に入りポスト国家的仕事をし続けてきた。日建時代に丹下事務所と仕事をした時にこの事務所は国家を背負っている、というか国家そのものだと感じたのはその通りで、歴史が彼ら、我らを作っていたということなのだと理解した。今の日本建築を理解する必読書である。The author argues that the absence of a comprehensive history of modern Japanese architecture occurred because of a break-in architectural history around the 1970s. He defines the period before that as the national stage and the period after that as the post-national stage. I was educated in the post-national setting, joined a post-national design firm (Nikken Sekkei), and continued working in the post-national background. When I worked with the Tange office at Nikken, I felt that this office was carrying the nation, or rather the country itself, and I understood that history had made them us. This book is a must-read for understanding Japanese architecture today.

共感が生み出す同一性が排除を生むのはいじめの原理。United by emotion という標語を最近よく見るがとても怖い。It is the principle of bullying that the identity created by empathy produces exclusion. I often see the slogan United by emotion lately, but it’s very scary.

中山英之さんのところに今年就職した修了生からお手紙をいただく。最初の仕事はラリック展の会場デザインだそうだ。庭園美術館ってすでに雰囲気ある場所だから一体ああ言う場所を中山さんがどうデザインするのかは見ものである。夏休みの楽しみが増えました。
I received a letter from a graduate who started to work this spring at Hideyuki Nakayama office. Her first job was to design the venue for the Lalique exhibition. Since the Garden Museum is already a place with an atmosphere, it is interesting to see how Mr. Nakayama designs a place like that. It should be the fun of summer vacation.