近所の自転車🚴‍♀️屋さんで電動自転車を買った。流石に坂の町で普通の自転車は辛い。店の三軒隣りに素敵な本屋あり。美術、建築、哲学、おもわず３冊購入。図説は今書いている本の図面にかなり使える。I bought an electric bicycle at a nearby bicycle shop. As expected, it is difficult to ride a regular bicycle in a hilly town. There is a wonderful bookstore three doors down from the store. I bought 3 books on art, architecture, and philosophy. I can really use the illustrations for the drawings in the book I’m currently writing.

探しものは事務所にあった

卒論の発表会は皆で聞こうねって呼びかけても、僕が然るべき建築家と公開のインタビューやるから聞きに来ませんかと誘っても、オープンハウスやるよとアナウンスしても、まあ大体誰も来ないのは学生が忙しいのと先生の指導力不足と両方あるのだろう。昔故小島一浩さんが「建築家としての先生の鮮度は６年しか持たない。僕の鮮度はもうない」と言ってYGSAに行かれたのを思い出す。その気持ちはよーくわかる。Even if I ask everyone to listen to my graduation thesis presentation, I invite people to come and listen because I’m doing a public interview with the appropriate architect, or if I announce that there will be an open house, generally, no one comes.　It is probably due to both the busy students and the lack of teaching ability of the teachers. I remember the late Mr.Kazuhiro Kojima going to YGSA and saying, “As an architect, your freshness only lasts six years. My freshness is gone.” I understand that feeling.

コロナ後の外呑みは増えた。特に大学関係は元に戻り今日も卒論発表した4年生を慰労し金町の居酒屋へ。昔みたいにとことん呑めないのは、体力不足というより、やること多すぎがブレーキをかけている。昔は朝まで呑むのが楽しかったのだが。After the coronavirus, drinking outside has increased. In particular, things related to the university have returned to normal, and today we went to a pub in Kanamachi to congratulate the fourth year students who presented their graduation thesis. The reason I can’t drink as much as I used to is not because I lack physical strength, but because I have too many things to do. In the past, it was fun to drink until morning.

理科大工学部4年の卒業には2コースあり主としてエンジニアリング系が選択する卒業論文のみのコース。もう一つは設計系が選択する卒業論文と卒業設計双方を行うコースがある。今日は後者の論文発表会であった。坂牛研の6名は全員発表。最近は卒論は院生が的確な指導をしてくれるので彼らを信頼している。
There are two courses for graduation in the fourth year of the Faculty of Engineering at Tokyo University of Science, and this is a graduation thesis-only course mainly chosen by engineering students. The other option is for design students to complete both a graduation thesis and graduation design. Today was the latter paper presentation.

篠原一男作品の屋根勾配は第一の様式では比較的緩い20度くらいだ、第二の様式では0度になり、第三の様式では勾配屋根はほぼ全て45度となる。初期は伝統に頼り、後期は幾何学をよりどころとしたからだろう。そして第四の様式では曲面になる。遺作蓼科は過去から離脱するために更なる急勾配になる。The pitch of the roofs of Kazuo Shinohara’s works is relatively gentle in the first style, about 20 degrees, in the second style it is 0 degrees, and in the third style, almost all pitched roofs are 45 degrees. This is probably because his early works relied on tradition, and his later works relied on geometry. In the fourth mode, it becomes a curved surface. Tateshina’s final work becomes even steeper in order to break away from the past.

米田明さんに勧められて読んでみたが、こいつは晦渋。でもプラトンが目に見える（現れる）像を見かけの像であり、真実ではないというのを理解した。そしてその理路でまだ生まれて無かった遠近法を否定するのも納得した。そう考えると透視図以前の絵画がなんであんな立面図みたいなのかが少し分かるような気になってきた。I read this at the recommendation of Akira Yoneda. It wasn’t easy. But I understood that Plato said that the visible (appearing) image is an apparent image, not a real one. And it made sense to use that logic to deny the concept of perspective, which had not yet been created. When I think about it, I understand why paintings before perspective drawings look like elevation drawings