VIEW OSAKA #5 "REMNANTS1926-1989 昭和残存"

VIEW OSAKAシリーズ #5「REMNANTS1926-1989　昭和残存」を

平成最後の「昭和の日」に出版しています。

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中表紙

奥付

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VIEW OSAKA 「REMNANTS 1926-1989 昭和残存」＜昭和残存：Showa Zanzon>

　　

Photographer : Tomatsu, Shiro

Design：Yabumoto, kinumi　Noda, Hiromi

Printing Director : Hirata、 Koji (LIVE ART BOOKS)

Sales and Advertising：TOMATO FOTO HOUSES　　 E-Mail：tomat8kv@gmail.com

Published in April. 2019 by Siracusa　Amano, Kenichi　　 E-Mail:siracusa@kenichiamano.com

Printed by Daishinsha Printing Co.,Ltd. in Japan／LIVE ART BOOKS

Collaboration

Matsuoka, Kumiko

Tanimura Hilgeman, Hiromi

Paul Hilgeman

Tokunaga. Yoshie

Tokunaga Institute of Photo & Art

Nankai Electric Railway Co.,Ltd.

ISBN　978-4-9906907-4-8　　 定価/Price　￥３０００＋税（Tax）

 

本書はAmazon、楽天などのネット通販等で取り扱っていません

本書の問い合わせはtomat8kv@gmail.com (内藤/Naito）までお願いします。

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©Tomatsu Shiro

Foreword

The left bank district in the middle reaches of the Kizu river in Osaka city was, until the end of the Meiji period, open farmland with a few villages. Between Meiji 43-44, the city undertook redevelopment¹ of extensive farmland north of the then Kotsuma village (covering Tamade, Senbon and Kishinosato) dividing it into a neat grid pattern, with the intention of creating a residential area which would connect to the developing Osaka city center.

From the Taisho period into the Showa, a diverse range of factories such as spinning, textile, shipbuilding, steel, iron and mechanical instrument manufacturing, as well as chemical and power plants were clustering around the mid to lower reaches of the Kizu. Rentable homes for the factory workers were built largely on the redeveloped farmland and conversion of agricultural land to residential land continued to take place. Shops catering for the workers also opened and thrived.

At the time of the Pacific War, central Osaka and factories along the banks of the Kizu were heavily bombed by the US Air Force and suffered great damage. The residential areas, however, escaped the air raids. Soon after the war, the damaged factories were rebuilt, and as the economy started to grow so did factory output. The necessity for more housing for additional workers resulted in the so-called “bunka jutaku” (cultural housing) being built, which were two-storied, tiled-roofed wooden housing complexes, filling every available space in the residential district creating a dense, urban landscape.

From the Showa into the Heisei during the “real estate bubble”, this residential district being away from the Osaka center escaped the extremely aggressive city redevelopment, and as a result much of the Taisho-Showa period wooden housing remained. After the “bubble” burst, as the recession took hold and factories closed down one after another, the working families with children who had once occupied the housing moved out. Now, the area is home to old people and pensioners, still strongly retaining the atmosphere of the bygone Showa era.

With the intention of promoting a better housing environment and fire safety, the “Osaka City Project Supporting (Demolition and) Rebuilding of Dilapidated Private Sector Housing” was set up in April 2011 including the “Program for Promoting the Removal of Dilapidated Residential Buildings Along Narrow Roads” ² which was identified as a priority. The city has since been actively encouraging the dismantling and clearing out of the decrepit wooden housing. Much of the cleared land still lies empty, surrounded by metal fences.

The left bank district in the middle reaches of the Kizu, its changes from the Taisho to the Showa and then into the Heisei, and the remnants of the Showa era such as the dilapidated wooden housing complexes bring back long forgotten, nostalgic emotional peaks and troughs felt by the Showa dwellers in downtown Osaka. But once such housing complexes are finally taken down, as time moves on, the cherished memories must disappear too, fading into oblivion.

Tomatsu Shiro　　　　

＜Photographs taken between January and December 2017＞　　

Translator’s notes

1. Direct translation for “Nōchi Kukaku Seiri Kōji” is “Agricultural Land Readjustment Construction Work”.
2. The project and program were called in Japanese: “Ōsaka-shi Minkan Rōkyū Jūtaku Tatekae Shien Jigyō” and “Kyōai Dōro Endō Rōkyū Jūtaku Jokyaku Sokushin Seido” respectively.

References

1. Kawabata, Naomasa and Nishinari-ku Osaka city, ed., Nishinari-ku Shi [A History of Nishinari-ku], 1968
2. Furuya, Hideki, Sōseiki no Tochi Kukaku Seiri Jigyō ni Kansuru Ichi Kōsatsu: Osaka・Imamiya Kōchi Seiri Jigyō o Nentō to shite [Study on Land Readjustment Project in the Early Period: with Arable Land Consolidation Project in Imamiya village (Osaka) in mind], Kankōgaku Kenkyū Vol.12, 3/2013

Notes on dates

Meiji period : 1868 – 1912 ／ Taisho period : 1912 – 1926 ／ Showa period : 1926 – 1989

Heisei period : 1989 - 2019

 

©Tomatsu Shiro

＜日本語＞

まえがき　

　大阪市の木津川中流左岸地域は明治末期まで田畑が広がる農村でした。明治４３年から４４年にかけ、大阪市は発展する市街中心部に繋がる住宅地への転用を目論んで、旧勝間村（玉出・千本・岸里）北部の広域な田畑を碁盤の目のように農地区画整理工事を行っています。

　大正から昭和になると、木津川中下流域は紡績、織物、造船、製鉄、鉄工、化学そして機械器具など多種多様な工場が集積し、ここで働く勤労者の賃貸住宅などが区画整理地に多く建てられ、農地が宅地になって行きました。併せて勤労者世帯相手の商店も出店し大いに賑わいました。

　

　太平洋戦争時、大阪市中心部や木津川沿岸の工場はアメリカ軍による大空襲を受け大きな被害がありましたが、この住宅地域は空襲に遭わずに済みました。戦後直ぐ、木津川沿いの工場が復興され、更に経済の発展で工場が活況となり、増大する勤労者向け住宅の需要を補うべく通称「文化住宅」という木造二階建瓦屋根の集合住宅が僅かな隙間を埋めるがごとく建てられて行きました。そして木造住宅密集地となって行きました。

　昭和から平成にかけての不動産バブル期、大阪市中心部から離れたこの住宅地は、猖獗さを極めた都市再開発にさほど縁が無く、大正から昭和に建てられた多くの木造住宅が残されました。バブル後、長引く国内経済停滞による相次ぐ工場の撤退に合わせ、勤労世帯である子育て世代も転出し、今では昭和の面影を色濃く残した高齢者の街となっています。

　大阪市は密集木造住宅市街地を、居住環境の改善及び防災性の向上を図ることを目的に「大阪市民間老朽住宅建替支援事業　狭あい道路沿道老朽住宅除却促進制度」（平成２３年４月１日施行）を設け、積極的にこの地区の老朽木造住宅の解体撤去を支援しています。除却された跡地の多くは金網フェンスに囲まれ更地となりました。

　木津川中流左岸地域の大正から昭和そして平成と、時代を経た老朽木造集合住宅などの「昭和の残渣」は、昭和を大阪の下町で生活した人達の忘れていた、そして戻ることが出来ないあの時代の喜怒哀楽の思いを呼び戻してくれます。しかし、この老朽木造集合住宅などが取り壊された後は、何時しか過ぎ去る時の流れと伴に、切ない記憶は忘却の彼方へ溶暗して行くのでしょう。

東松至朗　　　

　　　　　　

＊西暦と元号 明治：1868年～1912年／大正：1912年～1926年／昭和：1926年～1989年／平成：1989年～2019年　

　参　照 １．西成区史 　川端 直正 （著）　大阪市西成区 （編集）　1968年

　　　 ２．創生期の土地区画整理事業に関する一考察: 大阪・今宮耕地整理事業を念頭として　古屋秀樹（著）

　　　　　　 　　観光学研究　Vol.12, 2013年3月

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　　©Tomatsu Shiro　　　

A letter from a close friend

Tomatsu san,

Thank you very much for sending me a copy of your photographic book, “Houses”. Sincere apologies for not sending you an email to thank you even though I received it at the beginning of July.

I had a lot to think about this book. The reason I couldn’t put pen to paper for a while was because I was allowing my thoughts to ferment in my head.

I seem to remember writing about this before, but I was born in Shinkai Street in Nishinari District in the living quarters of my grandfather’s naphthalene and dye making factory. Soon after, we moved downtown to an area called Hayashi-ji Shinka Town in Ikuno District and lived there until I was eight years old and in my 2^nd year of primary school. We then moved again to the Nishi Tenkajaya shopping district in Shioji Street in Nishinari District where my mother ran a pharmacy. I was there, as the first born son, until I was 19.

Your first book, “The Dome”, and the second, “Rivers”, both brought back the landscape of my childhood in Osaka, as well as a feeling of nostalgia and a sense of something irrevocably lost.

Your third book, “Houses”, on the other hand, had a more profound impact on me. No one living in Osaka was included in the photographs, but only the traces of their presence; that provided a quiet impetus giving me a feeling of déjà vu, and I was back there, in that familiar atmosphere.

Those houses that were built squashed together with no space in between - people who were frugal and hard up lived there, like most of my friends. In a long, terraced row of workmen’s houses where all the internal layouts were exactly the same, each family lived in a tight squeeze.

Roads were narrow and often unpaved, with equally long and narrow shopping streets; you could sense a brimming over of raw emotions as a result of the stifling cheek by jowl existence. It was chaos, of a very Asian kind.

In essence, I don’t think there was enough space for living, for studying or for playing.

From time to time, I had to run away from home. To places that were relatively rural like Sumiyoshi-shrine and Yamato river, to Sugimoto Town where Osaka City University was, escaping, on foot.

Your pictures, Tomatsu san, made me wonder deeply about what I wanted to escape from. None of my friends live in those houses anymore either.

I now work in the pharmacy department of an emergency hospital in Hakata^* with around 250 beds. There are seven pharmacists with one administrator in a room of about 50m². A very small space indeed.

However, when it comes to social interaction, there’s hardly any . They keep their distance from one another as they work. After I started working there I realised that in small to medium sized hospitals such as this one, people come and go all the time and doctors, nurses, technicians and administrators also change over so frequently that you never quite feel settled.

Also, the hospital space is the smallest size possible and there doesn’t seem to be much money available. Hakata is, if anything, known for its warm hearted people and I think that’s true, but in a particular set up such as a hospital, to be too familiar may be frowned upon. That’s human wisdom for you. You live and learn. However, I am an oddity here, being an Osakan. I feel something is missing, and then the “Osaka-ness” from the Showa era that in many circumstances I was running away from pops up unexpectedly. As Boy so the Man. It’s in my bones. I ran away yet sometimes I long for it. Strange, isn’t it.

Tomatsu-san, thank you for producing the “View Osaka” trilogy. When we’re stirred by something, it makes us think. It was a good stimulus. What are your themes going to be in the future, I wonder? I am looking forward to finding out.

We are both senior citizens now . Do look after yourself.

Yours,

Yoshioka Takashi

July 29, 2015

*Hakata is in Fukuoka prefecture in the northern part of Kyushu.

友人からの手紙

©Tomatsu Shiro

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写真集：「VIEW OSAKA　REMNANTS1928-1989　昭和残存」　解題

　今までのVIEW OSAKAシリーズは、書名を「THE　DOME」、「RIVERS」、「HOUSES」、「Osaka１-chome　1-banchi／大阪一丁目１番地」でした。今回も簡単な英語かローマ字書名を考えていました。

　本書は「友人からの手紙」が切っ掛けででした。２０１７年の一年間、大阪市西成区内の国道２６号線と木津川に囲まれた範囲にある昭和の名残を主体に写真撮影しています。そして、書名は「ＳＨＯＷＡ」を考えました。

　ほぼ写真集原稿が出来た頃、来日していた欧州の知人に、「このような写真集を計画している。多くの欧米の人にも視てもらいたいと思ってる」と話し、原稿案を差し出すと、いきなり内容も視ずに書名の「ＳＨＯＷＡ」を指さし、語気強く「NO!　NO!! ・・・・!」と口にしました。つたない英語力の私は、恐らく「欧米の人にも見てほしいなら、このタイトルは止めろ」ということだなと何となく理解したつもりでした。

　後日、大学を昭和４０年代に卒業しすぐに渡欧され、現在も欧州で仕事をされている日本人女性に下記のようなメールを送り尋ねました。

写真集の書名で「SHOWA」を使わないほうが良いと助言頂きました。今一度私の理解が良く出来ていません。ヨーロッパでは「SHOWA」の綴りが不適切な理由を教えていただきたのですが、差し支えない範囲でお教えください。

そして、届いた回答は・・・

東松さま、SHOWA（しょーわ）ですが、第２次世界大戦時にドイツのナチによって行われた大量虐殺は、ホロコーストあるいは　ショーア（Shoah, Shoa、Sjoa）とも呼ばれているそうです。

日本ではショーアの方は知られていませんが多分ヘブライ語ではないかと思います。ヘブライ語はユダヤ人以外には遣われない言葉です。

ショーア はユダヤ系の人、ドイツ人にとっては、聴き捨てならない言葉ですし、他のヨーロッパ人にとっても嫌な記憶につながります。Wが入っていて違うと言われるかもしれませんが、日本語での「ワ」と「ア」の歴然とした違いとちがい、向こうの発音では、owa　は　oah, oa, にもっと近いです。

特に速く言うと。 また、ヘブライ語を知らない人たちにとってshowa　という綴りもあるのかなと思われる可能性も十分あります。まぎらわしいです。書名だけ見たら、ホロコーストの本だと間違われたり、内容を見ても、何故これがホロコーストなんだろうと思われたりする可能性があるわけです。

分かっていただけますか。

この助言により書名には「ＳＨＯＷＡ」を使わないことにしました。

　本書は平成２９年（２０１７年）に、大阪市西成区内の国道２６号線と木津川に囲まれた範囲で見ることができる昭和の「面影、遺構、残存物等」が対象です。そこで、「ＳＨＯＷＡ」の代わりに昭和の年代を意味する西暦１９２８年～１９８９年と、「面影、遺構、残存」を意味する英語の複数形REMNANTSを選び、「REMNANTS　1928-1989」とすることにしました。

ただ、英文書名「REMNANTS　1928-1989」だけでは日本で充分理解してもらえないと思い、和文書名「昭和残存」を付記する形にしました。

本書は、平成最後の「昭和の日」（２０１９年４月２９日）に出版しています。

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