12:["$","$L40",null,{"post":{"id":150097,"date":"2020-09-04T11:55:42","type":"post","link":"https://casabrutus.com/categories/culture/150097","title":{"rendered":"伊東豊雄の集大成となる自選作品集。"},"featured_media":{"id":150121,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":750,"height":750,"file":"2020/08/0804ito_750.jpg","sizes":{}},"post":150097,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2020/08/0804ito_750.jpg"},"categories":[{"id":7,"count":1595,"description":"","link":"https://wp2022.casabrutus.com/category/architecture","name":"Architecture","slug":"architecture","taxonomy":"category","meta":[],"parent":0,"term_order":3,"disable_ads":false},{"id":3,"count":907,"description":"","link":"https://wp2022.casabrutus.com/category/culture","name":"Culture","slug":"culture","taxonomy":"category","meta":[],"parent":0,"term_order":8,"disable_ads":false},{"id":4,"count":5729,"description":"","link":"https://wp2022.casabrutus.com/category/design","name":"Design","slug":"design","taxonomy":"category","meta":[],"parent":0,"term_order":1,"disable_ads":false}],"tags":[{"id":137,"count":1088,"description":"","link":"https://wp2022.casabrutus.com/tag/a-wall-newspaper","name":"a 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4, 2020 | Culture, Architecture, Design | a wall newspaper | photo_Kenya Abe text_Sawako Akune","subtitle":"「ひとつの建築をつくるほどのエネルギーをかけて」仕上げた作品集。そこに込めた思いを聞きました。","tableOfContents":null,"tableOfContentsTitle":null,"page":[{"pageTitle":"","section":[{"imageTitle":"","exam_id":"","exam_image":null,"movie":"","movieStart":"","movieCaption":"","subBody":"伊東が机に広げているのは、作業を終えて発売を待つばかりの自選作品集『身体で建築を考える』の校正刷り。空間の仔細まで見渡せる大きな写真の載るページ、びっしりと文字の埋まったページ……。一貫して読み応え・見応えのある、400ページ超の大作だ。初めての完全 “自選” の作品集。「もうこれ以上の作品集はつくれない!」ほどのエネルギーを込めたと話す。\r\n\r\n── “自選” 作品集の製作は、どんなきっかけで始まったのですか。\r\n\r\n伊東　僕は昨年病気をして、長く病院にいました。作品集の構想を始めたのはその入院中です。これまでの作品集は、基本は編集者にお任せ。掲載作品の選択には編集者や著者の意図が入るから、僕自身がやりきれたと思えていない建築も入りうるんです。今回の作品集はあくまで、僕自身が建築をつくるうえで大切にしている“身体で考える”ことがうまくいったと思える作品だけを選びました。\r\n\r\n── 結果的に27の建築作品と、プロダクトやインスタレーションなどが収録されています。\r\n\r\n伊東　建築家として独立してから、来年でちょうど50年。この間に手がけた作品は大小200弱ほどになるのですが、そこから選びに選びました。最初期の〈中野本町の家〉から、最新のものでは2023年完成予定の〈水戸市民会館〉まで。コンペ案も入っています。","image_set":[{"image":{"id":150124,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":736,"file":"2020/08/0804ito01_1104.jpg","sizes":{}},"post":150097,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2020/08/0804ito01_1104.jpg"},"caption":""}]},{"imageTitle":"","exam_id":"","exam_image":null,"movie":"","movieStart":"","movieCaption":"","subBody":"── 各プロジェクト、写真はもちろん、原稿も充実していますね。\r\n\r\n伊東　今回はすべての作品について新たに自分で原稿を書きました。さらに各作品について、完成当時に書かれた批評や記事などを相当数あたり、今読んでも面白い文章、発見のある文章なども収録させていただいています。\r\n\r\n── タイトルにもなったテーマ “身体で建築を考える” とは、具体的にはどんな感覚でしょうか?\r\n\r\n伊東　頭で考えるのではなく、身体全体でいいと思う建築をつくるべきだ、というのは、（独立前にスタッフとして勤めた）菊竹清訓さんから教わったこと。学生のときは、建築とは論理で考えるものかと思っていたのに、菊竹さんは全く違っていた。身体で考えることを知ったとき、建築って面白いなあと初めて感じられたんです。“身体で考える” とは何か、なかなか的確に表せないのですが、論理ではない、別の何かです。意識の外にあるところから出てくる価値基準で、それは自分の変わらない何か……たとえば原風景のようなものと結びついていると思います。この点に関しては、中沢新一さんが書いてくださった文章を読むと理解できると思います。","image_set":[{"image":{"id":150125,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":781,"file":"2020/08/0804ito02_1104.jpg","sizes":{}},"post":150097,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2020/08/0804ito02_1104.jpg"},"caption":"〈台北世界貿易中心広場〉。地下駐車場上部にある広場のランドスケーププロジェクト。International Trade Building / Photo_Jeffrey Cheng"},{"image":{"id":150127,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":736,"file":"2020/08/0804ito04_1104.jpg","sizes":{}},"post":150097,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2020/08/0804ito04_1104.jpg"},"caption":"〈台中国家歌劇院〉。口絵写真はすべてイワン・バーンが撮影。Photo_Iwan Baan"}]},{"imageTitle":"","exam_id":"","exam_image":null,"movie":"","movieStart":"","movieCaption":"","subBody":"── 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次世代を担う若いクリエイターたちに、本を通じてどんなことを感じ取ってほしいですか。\r\n\r\n伊東　僕はモダニズム全盛の時代に建築を学び、長い時間をかけて、自分の感覚とモダニズムの葛藤に気づいた。モダニズムから見れば辺境の地で、独自のローカリティを持った建築をつくりたいと今は強く思います。精魂を込めた一冊を通じて、そこに共感してくれる人がいるといいなと思います。","image_set":[{"image":{"id":150126,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":781,"file":"2020/08/0804ito03_1104.jpg","sizes":{}},"post":150097,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2020/08/0804ito03_1104.jpg"},"caption":"1981年完成の〈笠間の家〉。原広司・石山修武による対談も収録。"},{"image":{"id":150128,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":781,"file":"2020/08/0804ito05_1104.jpg","sizes":{}},"post":150097,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2020/08/0804ito05_1104.jpg"},"caption":"2004年完成の〈TODʼS表参道ビル〉。多木浩二による解説にうなる。Photo_Nacása & 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作品集の製作は、どんなきっかけで始まったのですか。\r\n\r\n伊東　僕は昨年病気をして、長く病院にいました。作品集の構想を始めたのはその入院中です。これまでの作品集は、基本は編集者にお任せ。掲載作品の選択には編集者や著者の意図が入るから、僕自身がやりきれたと思えていない建築も入りうるんです。今回の作品集はあくまで、僕自身が建築をつくるうえで大切にしている“身体で考える”ことがうまくいったと思える作品だけを選びました。\r\n\r\n── 結果的に27の建築作品と、プロダクトやインスタレーションなどが収録されています。\r\n\r\n伊東　建築家として独立してから、来年でちょうど50年。この間に手がけた作品は大小200弱ほどになるのですが、そこから選びに選びました。最初期の〈中野本町の家〉から、最新のものでは2023年完成予定の〈水戸市民会館〉まで。コンペ案も入っています。","image_set":[{"image":{"id":150124,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":736,"file":"2020/08/0804ito01_1104.jpg","sizes":{}},"post":150097,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2020/08/0804ito01_1104.jpg"},"caption":""}]},{"imageTitle":"","exam_id":"","exam_image":null,"movie":"","movieStart":"","movieCaption":"","subBody":"── 各プロジェクト、写真はもちろん、原稿も充実していますね。\r\n\r\n伊東　今回はすべての作品について新たに自分で原稿を書きました。さらに各作品について、完成当時に書かれた批評や記事などを相当数あたり、今読んでも面白い文章、発見のある文章なども収録させていただいています。\r\n\r\n── タイトルにもなったテーマ “身体で建築を考える” とは、具体的にはどんな感覚でしょうか?\r\n\r\n伊東　頭で考えるのではなく、身体全体でいいと思う建築をつくるべきだ、というのは、（独立前にスタッフとして勤めた）菊竹清訓さんから教わったこと。学生のときは、建築とは論理で考えるものかと思っていたのに、菊竹さんは全く違っていた。身体で考えることを知ったとき、建築って面白いなあと初めて感じられたんです。“身体で考える” とは何か、なかなか的確に表せないのですが、論理ではない、別の何かです。意識の外にあるところから出てくる価値基準で、それは自分の変わらない何か……たとえば原風景のようなものと結びついていると思います。この点に関しては、中沢新一さんが書いてくださった文章を読むと理解できると思います。","image_set":[{"image":{"id":150125,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":781,"file":"2020/08/0804ito02_1104.jpg","sizes":{}},"post":150097,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2020/08/0804ito02_1104.jpg"},"caption":"〈台北世界貿易中心広場〉。地下駐車場上部にある広場のランドスケーププロジェクト。International Trade Building / Photo_Jeffrey Cheng"},{"image":{"id":150127,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":736,"file":"2020/08/0804ito04_1104.jpg","sizes":{}},"post":150097,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2020/08/0804ito04_1104.jpg"},"caption":"〈台中国家歌劇院〉。口絵写真はすべてイワン・バーンが撮影。Photo_Iwan Baan"}]},{"imageTitle":"","exam_id":"","exam_image":null,"movie":"","movieStart":"","movieCaption":"","subBody":"── 今回、自選作品集をつくられたことで、ご自分の作品について新たな発見などはありましたか。\r\n\r\n伊東　僕の建築は、“軽さ” や “透明性” があると言われてきた。でも、自分の本質に近いと思える作品を集めてみて、実はそれと真逆で、地下に潜っていくような、洞窟的なところに、僕の本質はあるのかもしれないと気づきました。\r\n\r\n── 次世代を担う若いクリエイターたちに、本を通じてどんなことを感じ取ってほしいですか。\r\n\r\n伊東　僕はモダニズム全盛の時代に建築を学び、長い時間をかけて、自分の感覚とモダニズムの葛藤に気づいた。モダニズムから見れば辺境の地で、独自のローカリティを持った建築をつくりたいと今は強く思います。精魂を込めた一冊を通じて、そこに共感してくれる人がいるといいなと思います。","image_set":[{"image":{"id":150126,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":781,"file":"2020/08/0804ito03_1104.jpg","sizes":{}},"post":150097,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2020/08/0804ito03_1104.jpg"},"caption":"1981年完成の〈笠間の家〉。原広司・石山修武による対談も収録。"},{"image":{"id":150128,"alt_text":"","caption":"","description":"","media_type":"image","media_details":{"width":1104,"height":781,"file":"2020/08/0804ito05_1104.jpg","sizes":{}},"post":150097,"source_url":"https://wp2022.casabrutus.com/wp-content/uploads/2020/08/0804ito05_1104.jpg"},"caption":"2004年完成の〈TODʼS表参道ビル〉。多木浩二による解説にうなる。Photo_Nacása & 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