カテゴリー Ⅰ 日本建築学会計画系論文集第 83 巻第 746 号,783-793,2018 年 4 月 J. Archit. Plann., AIJ, Vol. 83 No. 746, 783-793, Apr., 2018 DOI http://doi.org/10.3130/aija.83.783 混在併存 を基軸とする大江宏の建築観の変遷 THE TRANSITION OF HIROSHI OHEʼS ARCHITECTURAL VIEW BASED ON KONZAI-HEIZON 石井翔大 *1, 種田元晴 *2 *3, 安藤直見 Shota ISHII, Motoharu TANEDA and Naomi ANDO This study aims to elucidate the transition process of the architectural view of Hiroshi Ohe. Ohe often used the term konzai-heizon which means interminglement and coexistence, to describe his architectural view. To determine the mechanism of the principle of Konzai-Heizon, we analyzed Ohe s discourses. The transition process was found to be a spiral motion accompanied by convergence and diffusion, with konzai-heizon as the basis. Ohe aspired to a multidimensional architectural view based on both modernism and romantic equivalence. The word "arbitrary necessity" that Ohe used to express his architectural view is understood to have the same meaning. Keywords: Hiroshi Ohe, Architectural view, Discourses, Konzai-Heizon, Arbitrary necessity *1 *2 *3 法政大学大学院デザイン工学研究科 博士後期課程 修士 ( 工学 ) 法政大学デザイン工学部建築学科 兼任講師 博士 ( 工学 ) 法政大学デザイン工学部建築学科 教授 博士 ( 工学 ) Grad. Student, Graduate School of Eng. and Design, Hosei Univ., M.Eng. Part-time Lect., Dept. of Architecture, Hosei Univ., Dr.Eng. Prof., Dept. of Architecture, Faculity of Eng. and Design, Hosei Univ., Dr.Eng. 783
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THE TRANSITION OF HIROSHI OHEʼS ARCHITECTURAL VIEW BASED ON KONZAI-HEIZON Shota ISHII *1, Motoharu TANEDA *2 and Naomi ANDO *3 *1 Grad. Student, Graduate School of Eng. and Design, Hosei Univ., M.Eng. *2 Part-time Lect., Dept. of Architecture, Hosei Univ., Dr.Eng. *3 Prof., Dept. of Architecture, Faculity of Eng. and Design, Hosei Univ., Dr.Eng. This study aims to elucidate the transition process of the architectural view of Hiroshi Ohe. Ohe often used the term konzai-heizon which means interminglement and coexistence, to describe his architectural view. To determine the mechanism of the principle of Konzai-Heizon, we collected and analyzed Ohe s discourses. The transition process was found to be a spiral motion accompanied by convergence and diffusion, with konzai-heizon as the basis. Ohe began to doubt the philosophy of modernism in architecture in 1954. Within about ten years, during which he traveled overseas twice, he established konzai-heizon as a civilization historical view, which he began practicing as a design method. This method is considered to have been completed for the time being in the design of the Nogi Kaikan (1968). Starting in 1973, Ohe began to avoid using the word konzai-heizon. We point out that the concept that Ohe had regarded as lacking in konzai-heizon was consistency. It is assumed that works with the consistency desired by Ohe include the Kakunodate cho Traditional hall (1978) and the National Noh Theater (1983). In 1987, Ohe started to complain about the consistency of the National Noh Theater and came to recognize that the center of architectural design is chaos. It is assumed that the "chaos" mentioned by Ohe describes not mere disorder, but multi-dimensional consistency, integrating methods tried in the National Noh theater (1983) and Kakunodate cho Traditional Hall (1978). Since 1956, Ohe consistently aimed to restore the romantic architectural view included in traditional architectural style and decoration, which included various concepts about the human mind and body that were abandoned as unreasonable by modernism. However, Ohe did not entirely reject modernism, as he acknowledged that he was a rationalist even through his later years. Ohe aspired to a multi-dimensional architectural view based on both modernism and romantic equivalence. The word "arbitrary necessity" that Ohe used to express his architectural view in his last years is understood to have the same meaning. (2017 年 8 月 21 日原稿受理,2017 年 12 月 28 日採用決定 ) 793