昭和初期女性生活空間的革新——同潤會大塚女子公寓音樂室

Abstract

昭和五年（1930年），同潤會建設了大塚女子公寓，這是日本少數針對單身女性設計的集合住宅，突破了當時以家庭為核心的社會觀念，為新興的職業女性階層提供了一個安心的居住空間。大塚女子公寓的特殊性不僅在於其針對女性住民的設計，音樂室的設置更為集合住宅空間中屬於前所未見的特例。然而，現有文獻對於音樂室的研究仍較為有限，基於此，本研究旨在探討音樂室的設置意圖及其革新意義。論文首先就同潤會大塚女子公寓的建設背景及空間配置進行概述，並將焦點逐步集中至音樂室這一特別空間。本文以音樂教育作為切入點，討論當時日本男女音樂教育的差異，並梳理在這樣的背景下，職業女性的漸增，而進一步影響到同潤會在大塚女子公寓規劃音樂室的決策。接著，分析當時典型住宅中鋼琴置放位置的案例，瞭解到其與大塚女子公寓的鋼琴用途之明顯差異，大塚女子公寓音樂室位於公寓的頂樓，僅限住民使用，與當時典型住宅中設於待客用的應接室、作為財富象徵的鋼琴配置形成鮮明對比。最後，比較同為女子公寓的櫻楓會公寓，分析大塚女子公寓音樂室在空間功能規劃上的創新之處。總結來看，大塚女子公寓音樂室的設置不僅滿足了職業女性對音樂活動與文化交流的需求，它更反映了當時職業女性這一新興社會階層的出現，並且是一項極具革新性的嘗試。In 1930 (Shōwa 5), the Dojunkai constructed the Otsuka Joshi Apartment(大塚女子アパートメント), one of the few collective housing projects in Japan specifically designed for single women. This groundbreaking development challenged the prevailing family-centric social norms of the time and provided a secure living space for the emerging class of professional women. The uniqueness of the Otsuka Joshi Apartment lies not only in its design tailored to female residents but also in the inclusion of a music room, an unprecedented feature in collective housing. However, existing literature on the music room remains limited. This study aims to explore the intention behind the establishment of the music room and its innovative significance.This paper begins with an overview of the construction background and spatial configuration of the Dojunkai Otsuka Joshi Apartment, gradually narrowing its focus to the music room as a unique space. Using music education as a point of departure, it examines the disparities in music education between men and women in Japan at the time and highlights how the increasing number of professional women influenced the Dojunkai’s decision to incorporate a music room in the Otsuka Joshi Apartment. Subsequently, the study analyzes examples of piano placement in typical residences of the period, contrasting them with the functional use of the piano in the Otsuka Joshi Apartment. While the music room in the Otsuka Joshi Apartment was located on the top floor and exclusively for residents’ use, pianos in typical residences were often placed in reception rooms as symbols of wealth. Finally, this paper comparesthe Otsuka Joshi Apartment with the Ohfukai Apartment(桜楓会アパートメント), another residence for women, to analyze the innovative aspects of the spatial planning of the music room.In conclusion, the music room in the Otsuka Joshi Apartment was not merely a functional space for musical activities and cultural exchange among professional women. It also reflected the emergence of this new social class and represented a highly innovative architectural endeavor.