“完成＝感性”を知るひと。
昨年の夏のイヴェント、ゴヨウキキ茂助・カフェ*での縁があり、白井原太さんと連絡を取るようになった。いまは僕が東京を訪れ、都合が付けば伺わせていただいている。家業を継ぐ前に設計士になりたかった自分からすれば、学生の時分には考えも及ばないことが現実に起きている。
原太さんとお話をすると、考え方が似ているところがある、と感じる。特に古いものや新しいものとの付き合い方がそうである。原太さんご自身の生み出すものと、祖父である白井晟一氏の生み出したものとの付き合い方、僕のつくるものと代々あるものとの付き合い方。折り合いをつけることはとても大切で大変で、そこには右往左往して行き着くこともある。だからこそ、そのときに身に付くものがあると思う。
原太さんが進めている設計は、元々あった材料に限りなく近い材料を調達することで既存のものと調和させていると伺った。例えば、かつての建築物の土壁を少量持ち帰り、千葉や栃木など複数の土地の種々の土や砂を配合して再現性を高める、そういったところまでやるという。床や壁などの木材の質感に於いても、同様のことを行っている。一方で、ただ古ければいいというものではない。古いものの中でも、いいものとそうでないものを振るいにかけ、取捨選択し、いいところに磨きをかける。また、そうすることで本来のよさが引き立ち、周囲にもその影響が及んでいく。原太さんは建築の年代で言うところの1950年代から60年代が、祖父・白井晟一の作品も含め、個人的には好みであると仰った。
そして僕の地元湯沢には、白井晟一氏にはじまり、関係者にも著名な方々がいらっしゃったことを教えていただいた。付き合いを深め、仕事をともにすることで、僕たちの世代の繋がりも同じような道を辿ることが出来れば、これほど爽快で素敵なことはないだろう。勝手にわくわくした僕は、今回の訪問で自分の夢もアトリエの中に置いてきた。
.
.
Sirai arichitectural institute（Atelier No.5）_Genta Sirai
He knows completion and the sensibility.
There were an event of the summer of last year and an edge in Goyoukiki Mosuke Caffe*, and I came to contact Genta Sirai. I will visit if I visit Tokyo, and convenience adheres now. I wanted to become a designer before it took over one’s family’s business. Not having thought has actually occurred in my school days.
I think that an idea each other looks like when talking with Genta. Especially, the way of the old one and the new one to associate is so. How of what Genta invents and thing that Seiichi Sirai who was grandfather invented to associate. How of what I make and the one that is from generation to generation to associate. I think that they look like. It is very important and serious to apply the agreement. It is likely to go this way and that there and to arrive. We have something acquired at that time.
The design that Genta advances is harmonized with the existing one by procuring a material that is unlimited and near the material that is originally. For instance, a small amount of clay wall of the building before is taken home, various soils and the sand of two or more land such as Chiba and Tochigi are mixed, and reproducibility is improved. He sticks to there. In the feeling of quality of the woods such as floors and walls, similar is done. It is one side and not the one that it only has to be old. The good one and the one not so are especially put on spirited, it chooses, and goodness is polished though it is old. Moreover, original goodness looks better by doing so, and the influence extends it to surroundings. The work of Seiichi Sirai was included, and Genta was said that the 1950’s and the 1960’s were personally favors.
And, it knew not only Seiichi Sirai but also parties concerned had had famous people in my local Yuzawa. It is can become as much as them by deepening association, and working both also by our generation, and might a thing that is refreshing and is wonderful. And, my dream has been put in the atelier.
I think that an idea each other looks like when talking with Genta. Especially, the way of the old one and the new one to associate is so. How of what Genta invents and thing that Seiichi Sirai who was grandfather invented to associate. How of what I make and the one that is from generation to generation to associate. I think that they look like. It is very important and serious to apply the agreement. It is likely to go this way and that there and to arrive. We have something acquired at that time.
The design that Genta advances is harmonized with the existing one by procuring a material that is unlimited and near the material that is originally. For instance, a small amount of clay wall of the building before is taken home, various soils and the sand of two or more land such as Chiba and Tochigi are mixed, and reproducibility is improved. He sticks to there. In the feeling of quality of the woods such as floors and walls, similar is done. It is one side and not the one that it only has to be old. The good one and the one not so are especially put on spirited, it chooses, and goodness is polished though it is old. Moreover, original goodness looks better by doing so, and the influence extends it to surroundings. The work of Seiichi Sirai was included, and Genta was said that the 1950’s and the 1960’s were personally favors.
And, it knew not only Seiichi Sirai but also parties concerned had had famous people in my local Yuzawa. It is can become as much as them by deepening association, and working both also by our generation, and might a thing that is refreshing and is wonderful. And, my dream has been put in the atelier.
.
.
シンプルさやさりげなさ。言葉にすると簡単で、やろうとするとできないこと。玄関をつくりあげるものも、ここはすべてそのようにできている。
Simplicity and casual. When easily doing when making it to the word, it is necessary not to be able to do. As for the one to make up the door, here is all made like that.
.
.
僕はこの場所がつくる雰囲気を形容することが出来ない。それは僕のカテゴリーにない空間だからだ。そうなると、単純にスタンドのシェードの可愛らしさと後ろの厚みのある本たちとの対比が面白い。
I cannot verbalize the atmosphere that this place makes. It is because it is a space that doesn’t exist in my category. Then, the comparison with this passing with the thickness in the loveliness of the shade of the stand and the back simply is interesting.
.
.
絶妙なトランクのスケールやカラーリング、重厚な金具のヴォリュームとステッカーの位置や求心力衰えないフォント。この組み合わせの妙というのは、いったい何なのだろう。
Scale, coloring of trunk, profound volume of metal fittings, position of sticker, and attractive font. What on earth is the strangeness of this combination?
.
.
「是非こちらをご覧下さい。こちらが家の守り神です。」そう言われて撮った仏像は天井からぶら下げられていた。皆さん、神仏をぶら下げる発想、ありますか？
｢Please see here by all means. This is a defense god in the house. ｣It was said so and the taken buddhist image was hung from the ceiling. Ladies and gentlemen, and do it conceive by hanging gods and Buddha, and do it exist?
｢Please see here by all means. This is a defense god in the house. ｣It was said so and the taken buddhist image was hung from the ceiling. Ladies and gentlemen, and do it conceive by hanging gods and Buddha, and do it exist?
.
.
絵画、額縁、ランプ、時計、キリム…まるでどこかの博物館のような取り揃え。雰囲気をつくる足し算引き算は大切だと思うが、ここにはなくていいのだろう。
Painting, picture frame, lamp, clock, and kilim … Collecting like museum somewhere. You might think the addition subtraction where atmosphere is made to be important, and not exist here.
.
.
綺麗な建築写真に一部レンガの壁。写真の中のシンプルで潔い建築にも心を奪われるが、単純にここのレンガの壁にも憧れてしまう。そもそも白井セレクトに直に立ち会っていることが、現在進行形で不思議。
Part is a wall of the brick in a beautiful architectural photography. It is fascinated with simple construction in the photograph, and yearns simply to the wall of a brick here. To begin with, it is mysterious in the present progressive to attend the Sirai selection personally.
.
.
アトリエ中央の丸い柱と床の風合いが素晴らしい。湯沢酒造会館の壁面もそうだった。フォルムもそうだが、素材の選び方は経年経過を見越しての選択だ。
The feeling of quality of a round pillar and the floor at the center of the atelier is wonderful. The wall in the Yuzawa brewing hall was also so. How to choose the material is a selection that foresees the passage of passing year though the form is also so.
.
.
打ち合わせのテーブルから外の庭を臨む。本来はこの打ち合わせのスペースも庭であり、改築の末の現在の姿であるという。
The garden of the outside is faced from the table of meeting. It is said that the space of this meeting is originally a garden, and a present appearance after rebuilding.
.
.
白井晟一氏が直接つくった模型。有機的に少し曲がったスロープが彼らしい。窓の位置やスケール感なども、やはり分かり易く面白い。生で拝見させていただいていることに今更に驚く。
Model that Seiichi Sirai made directly. A little curved organically slope seems to be him. The position and the scale feeling in the window are also comprehensible and are also interesting. In addition, I am surprised will see it by the life now.
.
.
原太さんのお母様は帽子のデザイナーだそうだ。確かヨーロッパでの表彰の写真も展示してあった。スタイリッシュで洒落た帽子が部屋に点在していることに納得する。
I hear that mother of Genta is a designer of the hat. The photograph of the commendation in Europe was exhibited. It consents to scatter a stylish hat in the room.
.
.
外の庭にはたくさんの植物が並ぶ。昨今のガーデニング、作庭もまた、そもそもの建築・人の生活の一部である。
A lot of plants line up in the garden of the outside. To begin with, gardening and the work garden are construction. And, they are parts of life.
.
.
庭から打ち合わせのテーブルを覗く。気温が優に30度を超す夏日でも涼しげな空間。発想力の源を生むには、環境が大事だと知らされる。
It peeps at the table of meeting from the garden. A cool space in the summer day to which the temperature passed fully 30 degrees there. It is told that the environment is important so that it may give birth to the source of the conception power.
.
.
.
.
この建物は画家のアトリエ「Atelier No.5」として白井晟一氏が設計したもの。そこに原太さんは生まれ育っている。北から射し込むやわらかな光が印象的で、そのような窓の配置に仕上げている。「この建物の良さを外部に伝えることで、多くの方にその素晴らしさと意義を伝えていきたい。」この場所に住み、生活を続ける原太さんの言葉だからこそ、説得力があった。
白井晟一氏のセレクトしたものに囲まれる空間を満喫しながら、おもむろに質問をしてみた。原太さんが何かを収集したり、新しいことに取り組んでいることはありますか？、と。彼は少し照れながら頭を掻いた。そして、それをしていないのが悩みでもあります、と答えた。これは足し算も引き算もない、ある種、完成された空間で生活してきた人の究極の回答であり、だからこそ、それを体現される方の発言だと理解した。
This building is what Seiichi Sirai designed as painter’s atelier “Atelier No.5”. Genta has been born and grow up there. Soft light that shines in from the north is impressive, and it finishes it up in the arrangement of such a window. “I wanted to tell many people the wonderful and meaning by telling goodness in this building outside” It was persuasive because of the word of man who kept living in this place, and living.
I questioned while enjoying the space enclosed by what Seiichi Sirai had selected. “Do you work on the collection of something, and new?” he scratched his head while being possible a little to shine. It was answered, “It is worry not to do it”. This is an ultimate answer of the person who has lived by the completed space without addition and the subtraction either. I understood that it was a remark of the person who embodied it.
.
.
.
.
.
白井晟一建築研究所（Atelier No.5）
Sirai arichitectural institute
Sirai arichitectural institute
〒165-0023 東京都中野区江原町2-25-2
Fax : 03-5996-5962
.
.
〒165-0023 2-25-2,Ehara-cho,Nakano Ward,Tokyo
Fax : 03-5996-5962
.
.
