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  </channel><item rdf:about="https://www.theguardian.com/world/2026/may/27/japan-obsessed-wth-cats-popular-pet-industry-worth-billions">
    <title>‘Catnomics’: how Japan’s feline fixation has become an industry worth billions | Japan | The Guardian</title>
    <dc:date>2026-05-28T07:15:45+00:00</dc:date>
    <link>https://www.theguardian.com/world/2026/may/27/japan-obsessed-wth-cats-popular-pet-industry-worth-billions</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Cats are believed to have been introduced into Japan during the Nara period (710-794) via Japanese envoys returning from Tang Dynasty China. Many were taken in by temples, where they protected religious scriptures from hungry rodents – a role that imbued them with a special, even mystic, status among their human counterparts.

Cats are nature’s most Zen-like creatures, effortlessly achieving an aura of calm and detachment that mere mortals spend an entire lifetime trying, and failing, to attain.

“Cats don’t live for the moment; they live in the moment,” the Japan-based author Stephen Mansfield said. “Dwelling neither in the past or future, their minds are likely a lot less cluttered than ours.”

Dog lovers will disagree, but Japanese folklore casts cats as wholly benign beings, whose natural compassion can be a harbinger of good fortune – qualities encapsulated in the maneki neko – a statue of a cat, its paw raised in the expectation of “catching” any luck passing its way.

The porcelain statues are thought to have been inspired by Gōtokuji temple in Tokyo where, as legend has it, a wealthy feudal lord was out hunting when he was caught in a fierce storm. After sheltering beneath a tree, he spotted a cat beckoning him from the steps of the dilapidated temple. As he approached the animal, a bolt of lightning struck the spot where he had been sheltering only seconds earlier. In a show of gratitude, the lord bought the temple and restored it to its former glory."]]></description>
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<item rdf:about="https://walkingtheworld.substack.com/p/four-years-of-walking-the-world">
    <title>Four Years of Walking the World</title>
    <dc:date>2026-01-10T20:03:26+00:00</dc:date>
    <link>https://walkingtheworld.substack.com/p/four-years-of-walking-the-world</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If you want to extend the metaphor of culture as the result of elites playing SimCulture, then you also need a model for your Sims. What are they? What is a person? I believe humans have an inherent purpose or telos, which provides (at least in my view) a clear definition of what makes life fulfilling. I can’t give you a precise answer, because I don’t believe I’m smart enough, but I do think that it’s about the spiritual. That is, material wealth alone will never be fulfilling. There needs to be something transcendent. Something beyond the here and now.

When I was doing the press rounds for Dignity, I realized I needed one take-home lesson, one platitude, that summarized what I’d learned from ten years talking to people all over the US, and my answer was, “Everyone wants to be a valued member of something larger than themselves,” and I still believe that, but I would now amend it to end with “something larger than themselves that transcends this material world.” Or, something that lives on for eternity.

To pontificate for a little bit more, I’m leaving in two days for China, and I believe no matter what else I think about the CCP, they do understand all of this. Maybe not the Catholic part, but the idea that there is an elite who build culture and that elite should have a goal in mind. The CCP of course sees themselves as that elite, and as I’ve written before, that self-recognition is, in my opinion, better than pretending, like the West does, that elites don’t shape culture, and consequently they don’t take their “jobs” seriously, so they don’t really know, or understand, what they want. What I believe Western elites want, judging from their policies and rhetoric, is maximum individual freedom for everyone. Which I believe is an incoherent telos. People are social creatures, and are only understandable within the context of a community, and so maximum individual freedom is a misguided goal. It feels good for most of the ride, but you’re going in the wrong direction, towards isolation, and away from the meaningful. It’s like driving in a really snazzy convertible deeper and deeper into the desert; the ride feels great until at some point you realize you’re utterly alone, which is immensely depressing."]]></description>
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    <title>Year in Review 2025: Diedrich Diederichsen on the War on Bohemia</title>
    <dc:date>2025-12-16T06:25:14+00:00</dc:date>
    <link>https://www.artforum.com/features/year-in-review-2025-diedrich-diederichsen-war-on-bohemia-1234738079/</link>
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    <link>https://www.samholden.jp/p/trains-from-the-past-trains-to-the</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Where Japan's railways are headed in a post-growth world"]]></description>
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    <title>Hints from Japan's hillsides - by Sam Holden</title>
    <dc:date>2025-09-03T04:12:32+00:00</dc:date>
    <link>https://www.samholden.jp/p/hints-from-japans-hillsides</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>2024 samholden japan slopes hills cities urban urbanism landscape hillsides onomichi craigmod elevation walking tokyo shunyayoshimi kobe nagasaki hakodate atami yokohama kure yokosuka christopheralexander maps mapping topography shioyaproject shinjiishii culture</dc:subject>
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<item rdf:about="https://www.samholden.jp/p/transit-and-techno-futurism">
    <title>Transit and techno-futurism - by Sam Holden</title>
    <dc:date>2025-09-03T04:07:40+00:00</dc:date>
    <link>https://www.samholden.jp/p/transit-and-techno-futurism</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["America chose to annihilate its cities to accommodate a new technological paradigm of its own invention—the automobile, expressways, and endless suburban housing. Imagine a different history, where just a tad more of the social surplus was consistently invested in transit over the past 75 years. New York could easily have built a system to rival cities in Asia or Europe. Rather than rip out their bones, cities across the country could have incrementally improved their rail systems: interurban railways would gradually become grade-separated, high-capacity lines through densified suburbs, interlining with subways built below old streetcar routes.

This incremental process is how modern-day Tokyo’s wondrous transit and housing abundance was built. Colin Marshall points out the deep similarity between Los Angeles and Tokyo that I also feel whenever I visit: both are microcosmic, multi-nodal, infinite sprawls. If LA had not dismantled the Pacific Electric Railway, which Berman notes was once the largest electric urban railway network in the world, Southland would have surely evolved to be more like Tokyo today in form, feeling, and density.2

City by city, Berman also outlines the many thwarted visions for new transit to replace what was torn out (New York took earlier stabs at its still-unfinished 2nd Avenue Subway in the 1920s, 1950s, and 1970s). Today, transit-futurist visions of America live on in the imaginations of transit advocates, whose beautifully designed maps are a natural accompaniment to Berman’s book. futureNYCSubway includes not just the 2nd Avenue Subway, but many other essential additions, such as an L train that turns up 10th Avenue to the Upper West Side and another line down 125th and onward to LaGuardia and Flushing in Queens, not to mention numerous outer borough extensions. Seattle Subway envisions a true transit metropolis, far beyond the city’s already ambitious rail construction plans. And if you’re interested in what a Tokyo-fied LA would look like, go no further than Nick Andert’s meticulous videos on YouTube. 3"]]></description>
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<item rdf:about="https://worksinprogress.co/issue/how-to-redraw-a-city/">
    <title>How to redraw a city - Works in Progress Magazine</title>
    <dc:date>2025-06-17T19:14:44+00:00</dc:date>
    <link>https://worksinprogress.co/issue/how-to-redraw-a-city/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Japan faced some of the world’s toughest planning problems. It solved them by letting homeowners replan whole neighborhoods privately by supermajority vote."]]></description>
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    <title>Visité la oficina y museo CASIO en JAPÓN: ¡Sueño relojero hecho realidad! - YouTube</title>
    <dc:date>2025-02-01T23:26:11+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Después de años de simplemente soñarlo finalmente lo logramos: Visitamos la oficina central de Casio en Japón y el Toshio Kashio Museum de la misma ciudad. Este privilegio lo han tenido pocas personas y aún menos latinoamericanos, por lo que decidimos grabarlo todo para compartirlo con ustedes. ¡Bienvenidos a este especial de Dando la Hora visitando Japón! 

Página oficial del museo: https://kashiotoshio.org/ "]]></description>
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    <title>Lifestyle: 33 Ways To Improve Your Life, Japanese Style | The Journal | MR PORTER</title>
    <dc:date>2025-01-12T00:56:46+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Tokyo is a city of extremes. The beating heart of Japan – at least since it took over from Kyoto as the country’s capital in 1868 – it is now the largest metropolis in the world, a forest of glassy skyscrapers, inner-city temples and hidden ramen shops, not to mention some of the best menswear on the planet. A short walk around Shibuya will leave even the most style-conscious man from elsewhere feeling entirely underdressed. Why else do you think MR PORTER stocks so many Japanese brands?

Still, to the uninitiated, Tokyo – and by extension Japan as a whole – can be an inscrutable place. How do so many people live on top of each other? Why is the food so good? And why are people so well-dressed? Here, a few of our favourite Japanese experts (and experts on Japan) divulge a few ideas on what we can learn from life in the Japanese capital, and beyond.

01. Enjoy the silence
Tokyo might be home to nearly 14 million people, but apart from the jingles you’ll hear at the train stations and in the convenience stores, it can be surprisingly quiet. “Very few people speak on the trains,” says Mr Paul McInnes, senior editor of Tokyo Weekender magazine, who has lived in the city since 2000. “It’s a wonderful way to have some quiet space and think about your day.”

02. Be happy in your own company
Tokyo can be a lonely place, but it’s also somewhere that people have learned how to deal with being alone. “People just don’t worry about doing something on their own and it doesn’t feel weird because everyone’s doing it,” says Ms Kaori Oyama, a Tokyo-based producer who used to work for Beams in London – and is more than happy to go solo dining. “You can go to the cinema or go and eat ramen and not have to wait for someone to come with you.”

03. Be a detail-oriented shopper
One secret to that aforementioned knack for being well-dressed? It’s all in the details. “The Japanese mentality is very detail oriented,” says Mr Eiichiro Homma, the founder of Tokyo-based menswear brand nanamica. “When it comes to small things like the inner shirt or shoes and accessories, that’s what we focus on.” From fabric to silhouette, pay attention to it all.

04. Find your inner otaku
If there’s one thing the Japanese have mastered, it’s how to have an overly specific hobby – and we’re not just talking anime and manga. “There are so many galleries and museums dedicated to some unbelievable niches,” says McInnes. “Tobacco & Salt Museum, Meguro Parasitological Museum, ramen museums, cup ramen museums!” It’s testament to Japan’s all-in approach when it comes to doing something you love. So, if you have a passion, no matter how individual, this is your cue to follow it.

05. Appreciate your connection to nature…
“Japan’s connection to nature is a deep and integral part of its cultural heritage,” says Mr Max Mackee, the British-Japanese CEO of Kammui, an outdoors-focused travel platform (founded alongside Japanese streetwear legend Mr Hiroshi Fujiwara). “Japanese indigenous beliefs held that spirits reside in all natural objects that must be respected and revered.”

06. …And be inspired by it
“Nature is a source of inspiration, from the various festivals, or matsuri, to social activities like cherry blossom viewing enjoyed throughout the year,” Mackee says.

07. Be mindful of every moment
“Japanese culture has always valued the state of ‘mindfulness’,” Mackee says. “This shows up in various parts of Japanese culture, from traditional Buddhist meditation practices, to the consideration and respect shown to others.” The transience of cherry blossom season in April is the clearest example of this: “They bloom only for a very short moment, and that moment passes.”

08. Get your rice right
“We never boil and drain our rice,” says Ms Emily Lucas, Producer at MR PORTER, who grew up in Tokyo. The Japanese way to do it? “Always start by soaking it first (to rinse off the starch), then add it to your rice cooker or pot. You can cook it in a regular pot, but for extra points invest in a donabe, or Japanese clay pot. I use the knuckle method to measure the ratio between rice to water. Cook for 15 mins, then leave to rest for 20 – you’re left with perfect fluffy rice. Not wet or soggy rice that you get if you just boil and drain.”

09. Revel in variety
“Japanese food always has a range of different dishes, so you can eat a lot of different types of food in one meal,” Lucas says. “Japanese breakfast alone often offers more vegetables and nutrition than the average Western meal. I particularly enjoy the element of slow living and taking the time to sit down and enjoy a proper meal in the morning.”

10. Invest in a good pair of slippers
“No shoes in the house – this is a given,” Lucas says. “Even barefoot in the house is frowned upon. Slippers, always.”

11. Don’t answer your phone in public
Next time your phone rings in a crowded area, consider hitting mute. “Public phone calls are a big no-no in Japan and on the train and bus you’ll often hear announcements warning against it,” Lucas says. “This is a courtesy to other people – no one wants to hear your phone chat, especially first thing in the morning on the way to work.”

12. Take inspiration – but with respect
The Japanese are perhaps the world’s best cultural appropriators. From curry to omelettes to fashion, Japan takes from other cultures and makes it their own. Just look at how KAPITAL makes better denim in Okayama than the American denim that inspired it. “In Japan, we excel in applied science,” Homma says. “We can’t go from zero to one, but if we can find one, then we can go straight to 200.” Again, referencing that detail-oriented mindset, he says: “If the Japanese make a garment, it’s usually higher quality and detail oriented. It becomes more sensitive.”

13. Get in tune with the seasons
As people in the country love to tell you, Japan has four seasons. So do a lot of other places, you might think, but it’s taken particularly seriously here in everything from food to decorations. “Japanese are very keen on seasonal ingredients, from fruits in summer to the oden, which pervades every konbini [store] during autumn and winter,” McInnes says. “Even the beer-can designs receive an update such as the cherry blossom designs in late March and April.”

14. Steel your sense of discipline
For Mr Kodo Nishimura, a Buddhist monk, LGBTQIA+ activist and the author of This Monk Wears Heels, the key thing that he learnt growing up in Japan was self-discipline. “Especially when I was in training to become a monk, we had to chant for hours and hours every day for three weeks,” he says. “One time, I started coughing non-stop and spat blood, another time, almost fell asleep standing up while chanting. What I learnt from these tough experiences is that, even if something looks impossible, it is possible. My ability is beyond my imagination.”

15. Balance out city life with the outdoors
“In the big city, everything is available 24 hours a day,” Homma says. “It’s very convenient on one side, but it’s a very fixed, ready-made life.” To combat life in the concrete jungle, outdoor pursuits have become increasingly popular in Tokyo – Homma goes sailing at the weekends. “I can feel the vibes of the Earth. If I go sailing on Saturday, I can forget about everything from Monday to Friday and forget about work, it’s how I regenerate my mind.”

16. Take your trash home
One of the main things the rest of the world can learn from Japanese culture? “Cleanliness,” says Ms Kylie Clark, a consultant and specialist in all things Japan. “Japanese sports fans have become known for cleaning up stadiums after matches, and one of the many things that strikes visitors to Japan is how clean it is. It’s not difficult to take responsibility for our own trash and surroundings.”

17. Bathe at night
“I think we take more baths and showers than everyone else,” says Mr Taka Miyake, founder of Tokyo-based skincare brand euer. “And we always bathe at night, so that your sheets stay clean. Some of my friends never ever skip having a bath. Even if they get home super drunk, they’ll still have a bath or shower before getting into bed.”

18. Get yourself an onsen routine
Public bathing is also big in Japan, which is why you’ll find so many onsen, or hot springs, across the country. A good skincare and haircare routine when bathing is a must, and not just for hygiene reasons. “It’s not only cleaning your own body, but cleaning your mental state and your soul as well,” Miyake says.

19. Become a Konmari minimalist
“People don’t generally get to live in spacious apartments, especially in Tokyo, so people think more minimalist here,” Miyake says. He references Ms Marie Kondo (known here as Konmari), the minimal cleanliness expert known for vapourising anything that doesn’t “spark joy”. It’s a clever way to stay clutter-free. “We can’t live in wide spaces, so we know how to live in a small space” Miyake says. “I just stopped buying things that aren’t necessary. I know I’ll throw it away because it’s not going to fit, and I want to keep things tidy.”

20. Become a super-queuer
“On the busy train platforms in Tokyo, we always try to keep a line,” Miyake says. “Even at a bar when you’re waiting to get a drink, we queue up.” And we thought the British loved a queue.

21. Revel in being cheap
Cheap is not a dirty word in Japan – and it’s not a byword for bad quality either. “There’s a word in Japanese called puchipura, which means cheap cosmetics that are still high quality,” Miyake says. “It’s about adjusting your lifestyle to your budget, but still enjoying luxuries when you can.”

22. Quality over quantity, every time
On the other hand, the occasional splurge is important. “People invest in things here and like to save up for something special,” Oyama says. This could be a cashmere coat or leather jacket that they’ll keep for decades, or just a solid pair of gloves. “Income isn’t generally that high in Japan, but at the same time people have more discipline with their money.”

23. Maintain your clothes
And when you have saved up to buy something special, take care of it. “It’s like if we buy a great pair of shoes or even a knife and mend it as we use it, and maintain it,” Oyama says. “People are really good at being respectful for things.”

24. Love the small stuff
This approach is rooted in Japanese culture in general, in nature, but also in things that have been lovingly crafted by hand. “It’s the way we kind of think there’s a soul even in small objects, so we treat them better,” Oyama says.

25. Be reliable
Japan might not be as punctual as its reputation suggests (“My friends are always late to meet me,” Oyama says). But people generally keep their promises. “If you call a plumber, they’ll come in immediately,” she adds. “It’s not always the case, but generally in Japan, people care more about other people’s time.”

26. Always follow the rules
Japan loves rules. Suffocating? Yes, but it makes the machine run smoothly. “People love to follow rules here,” Oyama says. “It can be tiring, but at the same time it means that generally you know what to expect.”

27. Don’t talk to strangers
“People just don’t talk to strangers here, so it means spontaneous things don’t really happen,” Oyama says. “On the one hand, it’s quite sad. But at the same time, we respect each other’s space, which can be a good thing, too.”

28. Get into washoku
Traditional Japanese food, known as washoku, is some of the healthiest in the world. “We study about healthy eating and nutrition at school and we learn cooking from six years old [at school],” Nishimura says. From onigiri (rice balls) to soba (buckwheat noodles), there are plenty of washoku staples that are easy to find globally and make nutritious additions to any diet. “Japanese food helps people to stay healthy and keeps us looking youthful inside and out,” Nishimura says. “My recommendation is to replace soda with iced green tea.”

29. Drink your sake with pizza
Looking for the perfect pairing for your margherita? “Try a junmai-style sake with pizza,” says Clark, who is a certified sake sommelier. “The umami in the tomatoes and cheese are a great match with the umami in sake.” She has some other useful sake-pairing tips, too: “For light fish dishes, mussels, or oysters, try a sparkling sake or a fruity junmai daiginjo. Red wine drinkers should look for the words kimoto and yamahai on the label, as sakes made using these traditional production methods tend to be bold and complex.”

30. Always bring back a gift
Never show up empty-handed after a trip. “I am a big fan of the Japanese custom of buying local food and drink when travelling, otherwise known as omiyage,” Clark says. “I’ve adopted this custom on a more personal scale, seeking out things to bring home to support local producers whenever I travel, like yuzu kosho from Japan, chilli peanut butter from the Netherlands (it’s a big thing there), or a bottle of Wye Valley mead from a trip to Wales.”

31. Try shiatsu
Japan might have done a good job of exporting its culture when it comes to sushi and Studio Ghibli, but Japanese-style massage – also known as shiatsu – is less-widely known. “It’s like acupuncture, but uses finger pressure instead of needles,” Clark says. “Seek out a practitioner in your nearest city and try it.”

32. Grow your own shiso
Shiso is a herb ubiquitous in Japanese cuisine, that has a unique and vibrant flavour. It’s easy to find if you’re in Japan, but can be expensive elsewhere. “So, grow your own,” Clark says. “I have so much of it growing here in London that I make jars of miso-shiso pesto with it.”

33. Always hand in lost property
Everyone’s heard the stories – you lose your wallet in Japan, and it finds its way back to you without a single yen missing, at least most of the time. “You just can’t lose your stuff in Japan,” Miyake says. “People pick it up and hand it to the police station, even your phone and wallet. It’s about having respect for another person’s things.”"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=mSNuacj7iqY">
    <title>THE GIFT OF TIME - YouTube</title>
    <dc:date>2024-11-05T18:58:35+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=mSNuacj7iqY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“THE GIFT OF TIME,” a short film from Seiko, explores Japan’s deep connection with time, as seen through the eyes of its cultural icons. Once a moment passes, it can never be recaptured. That is why life’s greatest luxury is spending time in nature or surrounded by friends and family, sharing generously with your community or pursuing the work and art you love most. The film, shot in culturally significant locations throughout Japan, shares the essence of Japanese luxury—craftsmanship, timelessness, and harmony with nature—with the world, urging viewers to embrace the beauty of the present moment, the four seasons, and the passing years. 

＜special website＞
https://www.seiko.co.jp/thegiftoftime/ "

[via:

"How Seiko’s “Gift of Time” short documentary has made me appreciate my most prized watch even more"
https://timeandtidewatches.com/seiko-gift-of-time-short-documetary-film-video/ 

"This past weekend, Grand Seiko held its annual GS9 Club USA Experience event in New York City, where a vast range of Grand Seiko creations were on display, various insightful panels were held, and, of course, exceptional food (courtesy of panellist Ivan Orkin known for his world-renowned ramen) and drinks (courtesy of Suntory) were served. But, amongst the large event packed with devout Grand Seiko collectors and prestigious guests, the thing I really took away with me once the festivities ended was the premiere of Seiko’s new short documentary Gift of Time, directed by Paula Chowles.

In our horological hooliganism, I have seen the watch community poke fun at Grand Seiko’s romantic interpretations and expressions of time now and again. Regretfully, I may have been guilty of this myself in the past. The brand’s motto, The Nature of Time, and its consistent leverage of nature to inspire its dials can, at times, be the brunt of jests – in particular, the communication around them. With repetition, the Western world may generate scepticism, reducing a meticulous detailing of a bamboo forest to a romantic excuse or dollar-driven marketing effort to drum up interest in a new dial.

While I understand how the poetic communication of Grand Seiko’s muses can cause some to think it is simply a mere marketing tactic, I do not feel that strong, genuine intention and strong marketing are mutually exclusive. To understand how these seemingly opposing things run parallel, and are perhaps why Seiko and Grand Seiko have developed such a cult following, I highly recommend watching the 25-minute documentary that showcases various Japanese cultural icons sharing the importance of time within their lives and professions. The thoughts they share and express ultimately show that the romantic interpretation and thoughtful consideration of time we often see communicated by the Seiko Corporation is not derived from the brand nor born out of commercial motives. Rather, it is an ingrained way of life and mindset woven in each artist or individual through Japanese culture – which, as an American, I could not help but envy as I watched.

While I found many insights shared during the film very interesting, I would like to share one concept, integral within Japanese culture, that really stood out to me to give you a taste of what is explored in the film.

“Ma“: The space between things

Ma refers to the space between things, and artists utilise these spaces and gaps to create meaning, experiences, and more, For example, architect Kengo Kuma, who notably designed Grand Seiko Studio Studio Shizukuishi, introduces the concept of ma in the film as he explains his strategic implementation of gaps in a temple he designed in Minato, Japan: Zuishō-ji. In the film, you can see that each element within the space has ample breathing room between them.

“The spaces surrounding the pond and gravel were intentionally designed with a lot of breathing room,” Kengo Kuma explains. “To have such deliberate emptiness right in the midst of a city is incredibly rare… Ma is revered as a crucial element, valued both for its presence and its absence. It is central to Japanese culture.”

As a result of these gaps and spaces, Kuma believes Zuishō-ji exudes the most serenity of any temple he has designed. The emptiness allows the mind to be empty, clear, and present, in stark contrast to the bustling city surrounding it – packed with buildings and objects and people racing to get to the next destination. As a result, time, in a certain respect, slows in serene spaces like Zushō-Ji to best support mindfulness. This serenity is born out of Kuma’s mindfulness of space and his cadence and frequency for placing things within the space he created. There is a reason why clean and open spaces are more conducive to creativity and productivity, regardless of the type of task at hand – whether prayer or preparing documents in an office.

The film then transitions away from ma as it pertains to architecture, with Japanese singer MISIA conveying its prevalence in music and the power of silence (gaps) between notes.

“The human ear is fascinating. We can hear the flapping of an insect’s wings. Their wings can flap 1,000 times in a second, which means we can perceive a thousandth of a second. That’s how sensitive we are to ma,” MISIA explains. “As musicians, when we are in sync with one another’s ma, it feels wondrous. Slow music has a long ma, and fast music has a short ma. In these pauses or spaces, a musician expresses their feelings, thoughts, and groove, all of which play a significant role in their style. Songs with beautifully designed ma are masterpieces.”

In the same manner the cadence of objects introduced into an architectural design can change how someone engages with a physical space, the cadence of notes and the gaps between them bear great effect on how we interpret music and sound. Short, abrupt sounds are associated with actions, while longer, drawn-out sounds are associated with emotion and passion. The silences between them create emphasis, and when introduced at the right time it makes a given piece of music that much more powerful. The devilish chime of Bulgari’s latest tritone minute repeaters is a wonderful example of such musicality in practice within watchmaking. Swiss conductor Lorenzo Viotti, through introducing the tritone, made a traditionally innocent sound more tense – creating a new experience for a wearer to engage with a chiming watch.

Closer to home, as Grand Seiko nerds will likely already know, the constant-force tourbillon mechanism within the Grand Seiko ‘Kodo’ produces a sound akin to a musical 16th note – creating a more vivid sense of a heartbeat (which Kodo translates to in English).

To tie it all back further to watchmaking and watch design, my introduction to the concept of ma , through both Kuma and MISIA words in the film, gave me a better understanding of why I am so drawn to my Credor Eichi II – the most coveted watch in my collection. The Eichi II is, aesthetically, the embodiment of simplicity, and I have always been very appreciative of its calm and serene quality. The vast majority of the dial is a crisp white porcelain, with minimal interruptions to its deep, largely empty surface.

As someone who likes to precisely set his watch in synchronisation with a reference clock, like my iPhone, the Eichi II, limited to just hour indices with no index for each minute/second, means I have to set the watch on a 5th minute or the hour to synchronise. You can picture me pulling out the crown upon the second hand at zero, lining the minutes hand perfectly with the appropriate hour index, and then having to wait minutes before I can push the crown back in.

It is a very small price to pay for such a stunning dial, but my newfound understanding of ma has left me looking at these gaps with a new sense of appreciation. The ritual of setting the time perfectly, in effect, slows me down. Calms me. And, with Spring Drive powering the watch, the gaps between the index best showcase the serene glide of the second’s hand – allowing the passage of time to be centre stage rather than having a very clear-cut discernable minute. As the hand hits each index, it is as if the hand is calmly and precisely arriving at its destination. Not too fast, nor too slow. Moving at just the right thoughtful pace.

The empty space, or, rather, the vast calming porcelain backdrop, also allows the full shadow of the passing central seconds hand, the crescent-shaped counterweight of the hand in particular, to clearly be seen on the dial – a visual quality I appreciate more and more with each wear.

It is a bit ironic that a watch, with no outer minutes track and minimal indexes, is so precise – in my experience, gaining at most a second any given month. In the past, I simply associated the serenity of the Eichi II with its plain white dial and Spring Drive movement. In learning about ma, however, I now have an appreciation for the gaps between the indices that once were seen as a neusance born as a casualty of design rather than a source of appreciation and heightened serenity.

I hope this has been far more indicative of the benefit of learning about Japanese culture regarding better understanding Seiko’s design and philosophy rather than a sermon delivered at a cyph. If, to you, it seemed more so the latter, then I encourage you to watch Gift of Time with even greater enthusiasm. I promise it is well worth it."]]]></description>
<dc:subject>seiko time film watches luxury craftsmanship timelessness harmony nature presence seasons japan paulachowles ma design grandseiko grandseikokodo credor kodo zachblass enoura light cycles cyclical life living bodies misia precision ginza odawara memory hiroshisugimoto kyoto shunichitokura mountfuji trains travel blossoms shinjihattori kintarohattori seikosha tokyo measurement clocks days hours moments kengokuma nara buddhism buddha human music generations humanness present ikigai being environment temporary ephemeral humans serenity emptiness inbetween nothingness mu wood materials tea culture senses multisensory change 1923 existence universe naturalhistory industrialrevolution history watchmaking altruism reliability credibility flow ephemerality inbetweenness betweenness between</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=TQPOhf_PsA8">
    <title>Sound of City - Chiara Luzzana - Project Teaser - YouTube</title>
    <dc:date>2024-09-18T21:05:56+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=TQPOhf_PsA8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What is the sound of your city? Discover its soul through the recordings of sound artist Chiara Luzzana."

[See also:
https://www.chiaraluzzana.com/work/swatch

"The Sound of Milan - Chiara Luzzana"
https://www.youtube.com/watch?v=SgFeaowaoS0

"The Sound of Tokyo - Chiara Luzzana"
https://www.youtube.com/watch?v=G74fsZ8jbfg

"The Sound of New York - Chiara Luzzana"
https://www.youtube.com/watch?v=WRvBdwDnv60

"The Sound of Shanghai - Chiara Luzzana"
https://www.youtube.com/watch?v=X644ZLEblCE

"The Sound of Zurich - World premiere"
https://www.youtube.com/watch?v=9xZ7fAN2d4I

"Chiara Luzzana "The Sound of Swatch" - MUSE CREATIVE AWARDS 2017"
https://www.youtube.com/watch?v=iMjc5c4PnbE

"Chiara Luzzana - SWATCH - Official Soundtrack (Sound Design Project)"
https://www.youtube.com/watch?v=10IxrAcMoF8

"Swatch Faces 2015: Chiara Luzzana"
https://www.youtube.com/watch?v=7sgV70muqj8 ]]]></description>
<dc:subject>swatch sound cities sounds watches chiaraluzzana 2017 zurich nyc shanghai tokyo milan fieldrecordings urban urbanism noise music watchmaking fieldrecording zürich</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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    <title>Skate and Listen: A Conversation with Tetsuya Yamada – Mn Artists</title>
    <dc:date>2024-09-03T21:51:54+00:00</dc:date>
    <link>https://mnartists.walkerart.org/skate-and-listen-a-conversation-with-tetsuya-yamada</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["From skateboarding in Tokyo to a mid-career retrospective at the Walker Art Center: the sound of ceramic, wood, and concrete"
]]></description>
<dc:subject>2024 tedbarrow skateboarding skating tetsuyayamada tokyo art</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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    <title>Seiko Ginza Museum Walking Tour - YouTube</title>
    <dc:date>2024-08-31T18:36:02+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=hMPGr2jYDqg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Back at the beginning of the year when I visited Japan, one of the places I stopped by on my trip was Ginza, Tokyo. While I was there I had to check out the Seiko Museum with 4 floors of horological goodness!"]]></description>
<dc:subject>seiko ginza tokyo museums watches watchmaking 2024 clocks timekeeping</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:fa6e43a346a4/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:seiko"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ginza"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tokyo"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2024"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:clocks"/>
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</item>
<item rdf:about="https://www.quietclub.com/">
    <title>Quiet Club</title>
    <dc:date>2024-08-16T04:32:32+00:00</dc:date>
    <link>https://www.quietclub.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Introducing Quiet Club’s first model: Fading Hours. Designed, engineered, and handcrafted in our Tokyo workshop. Featuring an alarm-like function with a mechanical gong and hammer, similar to a minute repeater, Fading Hours produces a beautiful sound that aids in entering a state of concentration and gently signals when it’s time to move on. When the alarm function of Fading Hours is activated, we hope the wearer feels liberated from the noise of daily life, allowing time to fade into the background.

The concept for Fading Hours came from a real-life need we encountered daily. Our best work often happens during deep focus, but consistently entering and maintaining this state is difficult. People tend to use the alarm on their mobile phones to stay on schedule, but this meant having a world of distractions constantly within arm’s reach. As watch lovers, we realized that a mechanical watch could solve this problem, but we couldn’t find what we were looking for in the market. This is what set us on the path to design our own watch."

[video:
https://www.youtube.com/watch?v=XkAW_0pk-pM ]

[via 

"Three Watch Specialists Create the Quiet Club
The new brand’s first watch is a titanium and silver piece with a mellow gong alarm."
https://www.nytimes.com/2024/08/08/fashion/watches-quiet-club-tokyo.html ]]]></description>
<dc:subject>watches watchmaking japan quietclub 2024 tokyo norifumiseki hokutoueda johnnyting us tpkyo sanfrancisco seattle masahirokikuno yuusekiguchi</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:26c8abca7f6e/</dc:identifier>
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</item>
<item rdf:about="https://craigmod.com/ridgeline/190/">
    <title>Tokyo Notes - Public Commons — Ridgeline issue 190</title>
    <dc:date>2024-07-29T17:39:18+00:00</dc:date>
    <link>https://craigmod.com/ridgeline/190/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>tokyo craigmod 2024 walking cities urban urbanism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6d0087df43d4/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=R7NodCYbDPI">
    <title>Degrowth Communism: Envisioning a World Beyond Capitalism - YouTube</title>
    <dc:date>2024-05-28T06:47:18+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=R7NodCYbDPI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Unavoidable evidence of the catastrophic consequences of climate change confronts us at every turn. Record high ocean temperatures. Once-a-century storms that appear every other year. And on and on. In the face of ongoing ecological disaster, international best-selling author Kōhei Saitō asks why our society continues to prioritize corporate profits (and the rapacious expansion on which they depend), and proposes a revolutionary alternative to unfettered capitalism: degrowth communism.

In Slow Down, Saitō provocatively argues that any solutions that don’t directly confront capitalism itself—from the COP agreements to the “Green New Deal”—represent dangerous compromises that may ultimately worsen the climate emergency. Because it creates artificial scarcity and endlessly produces commodities based on their value, rather than their usefulness, our economic system itself makes it impossible to reverse climate change so long as capitalism remains in place. The biggest contributor to the problem cannot be an integral part of its solution.

Instead, Saitō advocates for degrowth and deceleration, which he conceives as the slowing of economic activity through the democratic reform of labor and our system of production. By returning to a system of social ownership, degrowth communism, we can restore the abundance of things that we truly need, and can focus on those activities that are essential for human life.

What would this alternative look like? How do we end mass production and mass consumption without reducing living standards? What do we need to do to redress global inequality without accelerating the rate at which the planet burns?

For this launch event Saitō will be in conversation on all of this, and more, with Science for the People editor, and Pilsen Community Books collective member, Erik Wallenberg."]]></description>
<dc:subject>degrowth economics capitalism communism kōheisaitō koheisaito climatechange society erikwallenberg consumption consumerism scarcity 2024 globalnorth globalsouth covid-19 coronavirus pandemic imperialism ecologicalimperialism ecology globalization fossilfuels inequality exploitation essentialworkers work labor negativeexternalities life living slow wellbeing remotework redistribution publictransit growth profits naturalresources commodities climatecrisis production futures future statepower ecologicalcrisis polycrisis climaterefugees refugees democracy xenophobia wealthconcentration latecapitalism poverty climatefascism stability instability donaldtrump climatebarbarism chaos surveillance authoritarianism regulation socialism climatemaoism climateleviathan sustainability greennewdeal environment climatejustice excess sharing transportation flights aviation degrowthcommunism degrowthsocialism commons distribution ownership marxism decentralization values democraticsocialism technosolutionism evs barcelona</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:029eea5bc952/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:latecapitalism"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:donaldtrump"/>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=W0gZPTC15M0">
    <title>Sometimes, Trains are Just Better - YouTube</title>
    <dc:date>2024-04-13T23:55:39+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=W0gZPTC15M0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Here at RMTransit we like trains, and in today's video, let's talk about all the things trains can do that buses just can't."]]></description>
<dc:subject>rmtransit trains rail railways buses transit 2024 publictransit transportation trams costs nyc tokyo paris vancouver automation amsterdam toronto</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5bb026c2fb20/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rmtransit"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rail"/>
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</item>
<item rdf:about="https://info.hands.net/en/">
    <title>Hands [Tokyu Hands]</title>
    <dc:date>2024-01-21T00:13:57+00:00</dc:date>
    <link>https://info.hands.net/en/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Our concept is "Create your own life in your own way with what is available within reach."
We believe that is the most valuable part of living.

We have entered an age where, along with the Internet, we can get our hands on various items easily and quickly.
However, this is precisely the reason why it is necessary more than ever for us to provide each customer with the chance to make new discoveries and pick products according to their own unique perspectives in order to create a "creative lifestyle".

"You can find anything here" "Nowhere can match our prices"
Moving from a uniquely Japanese "everyday" to "special"
HANDS continues to deliver the opportunity to encounter new things, experiences, and people by offering a wide range of products.
Visit during your trip to Japan to find your very own "original"!"

[via:
https://remakepod.org/episode/070-che-wei-wang-and-taylor-levy-the-design-practice

See also:

"21 Reasons Why This Japanese Department Store Puts American Stores To Shame"
https://www.buzzfeed.com/eviecarrick/tokyu-hands-department-store-japan

"There are certain things that are just better in Japan. And one of them is the amazing department store Tokyu Hands."

https://en.wikipedia.org/wiki/Hands_(store)

"Hands Inc., known as Hands (ハンズ, Hanzu), is a Japanese department store formerly known as Tokyu Hands. Hands is now part of Cainz [ja] (itself a member of the Beisia Group [ja]). Tokyu Hands opened their first store in Shibuya, Tokyo in 1976 as a DIY (Do-It-Yourself) store, hence the logo with two hands, and the emphasis on crafts and materials for projects.[1]

The name Tokyu Hands was in reference to its then parent company, the Tokyu Group keiretsu. Cainz acquired the brand in March 2022 and renamed the store Hands.[2]

Today, Hands focuses on hobby, home improvement and lifestyle products. At the Shibuya flagship store, products include toys, games, novelty items, gift cards, gift wrap, costumes, bicycles, travel products (such as luggage and camping gear), hobby materials, household hardware, tools, do-it-yourself kits, pet supplies, office supplies and stationery; calligraphy, painting, drawing supplies, furniture, lighting, home appliances, and storage solutions.[buzzword]

Most branches offer free workshops (in Japanese) and have demonstrations running on various floors during busy periods (weekends and holidays). There is a delivery service available for purchases that cannot be taken home on the day.

The Ikebukuro location featured a cat café called Nekobukuro, or "Cat's House", one of the first in the city to do so. For an additional admission fee, customers could visit with some 20 cats in the cafe. However, the Ikebukuro location underperformed as a whole and was closed on October 31, 2021.[3]"]]]></description>
<dc:subject>shopping japan tokyo stores design gifts shibuya shinjuku shinsaibashi ginza tokyuhands</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6e77c24bd192/</dc:identifier>
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</item>
<item rdf:about="https://podcasts.apple.com/us/podcast/independent-thinking-gary-shteyngart-shteyngart-khrushchev/id1498839718?i=1000529211752">
    <title>Fifth Wrist Radio: Independent Thinking - Gary Shteyngart (@shteyngart); &quot;Khrushchev meets Liberace” and all that ticks on Apple Podcasts</title>
    <dc:date>2022-09-30T20:39:50+00:00</dc:date>
    <link>https://podcasts.apple.com/us/podcast/independent-thinking-gary-shteyngart-shteyngart-khrushchev/id1498839718?i=1000529211752</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Another episode of the Independent Thinking Show for FifthWrist Radio. Hosts: Roman (@TimesRomanAU) and Adam (@mediumwatch) chat with best-selling novelist and watch enthusiast Gary Shteyngart (@shteyngart).

Join us as for a conversation about Gary’s writing and his headlong dive into watches, Bauhaus, Nomos, Seiko, Rolex and Patek. Find out which Rolex model shall henceforth be dubbed “The Shteyngart” forever and why Gary is not a chronograph guy!

Erudite, thoughtful and hilariously funny (just like his books), we guarantee you will enjoy our conversation with Gary.

Shout-outs in this episode to friends of FWR podcast: @anordain, @Habring2, Eric Wind, @colibrica Design, Theo Diehl, William Massena, Kathleen McGivney & Ming Watches.

Special mentions to Jack Forster, Allen Farmelo, and Stephen Pulvirent.

Recommendations from this episode

Gary - @mrzaratsu; @waitlisted; Book - “Caste” by Isabel Wilkerson

Adam:  Gary’s Book “Lake Success”; Shipping service DeJapan.com

Roman: Gary’s New Yorker Article: “Confessions of a Watch Geek"; William Gibson’s WIRED Article “My Obsession”

Follow Gary on Instagram @shteyngart and check out his books, including his latest Our Country Friends released in November 2021.

New Theme Music for 2021: Circle Round by Spinning Clocks (via YouTube Free Music Channel)

Follow us on Instagram: @FifthWrist

To join our group chat please email us at contact@fifthwrist.com and if you have time please leave us a review.


SHOW NOTES

8:20 - Gary’s collecting philosophy

16:10 - An ode to Nomos, William Massena, Ming and Habring watches

23:05 - A brief detour to Ukraine, Chernobyl and Soviet design (Khrushchev meets Liberace)

25:30 - Gary’s ancestral watch (Raketa)

36:10 - Revenge of the nerds

42:40 - Watches as key plot devices in Gary’s novel “Lake Success”

47:45 - Obscurity vs mass recognition

53:40 - Tips for writing about watches

1:06:20 Unavoidable discussion of Gary’s Talking Watches appearance on Hodinkee

1:19:00 Tips for aspiring writers everywhere

1:26:00 Recommendations

Cheers from sunny Melbourne and Stay On Time!"]]></description>
<dc:subject>2021 garyshteyngart watches collections collecting nomos rolex williammassena ming ukraine chernobyl obscurity lakesuccess patekphilippe anordain ussr sovietunion class banking investment junghans bauhaus minimalism raketa templegrandin personality minutia minutiae howwwewrite writing wornandwound jackforster memoirs gender allenfarmelo stephenpulvirent ericwind diversity women hodinkee carabarrett rowingblazers immigration immigrants migration habring2 theodiehl kathleenmcgivney grandseiko seiko tokyo vintage kingseiko colibrica philippepatek isabelwilkerson williamgibson watchcollecting waltodets</dc:subject>
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<item rdf:about="https://en.wikipedia.org/wiki/The_Last_Children_of_Tokyo">
    <title>The Last Children of Tokyo - Wikipedia</title>
    <dc:date>2021-08-17T16:09:03+00:00</dc:date>
    <link>https://en.wikipedia.org/wiki/The_Last_Children_of_Tokyo</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“The Last Children of Tokyo (published as The Emissary in the US) is a 2018 science fiction novel by Yoko Tawada. It was originally published in Japanese as Kentoshi (献灯使) by Kodsansha in 2014. The English translation is by Margaret Mitsutani.“

[Referenced here:
https://medium.com/butwhatwasthequestion/architects-without-architecture-9e9395dd9314

See also:
https://www.ndbooks.com/book/the-emissary/

“Yoko Tawada’s new novel, The Emissary, is a breathtakingly lighthearted meditation on mortality. After suffering a massive, irreparable disaster, Japan cuts itself off from the world. Children are born so weak they can barely walk; the only people with any get-up-and-go are the elderly. Mumei lives with his always worried great-grandfather Yoshiro, and they carry on a day-to-day routine in what could be viewed as a post-Fukushima time. Mumei may be frail and gray-haired, but he is a beacon of hope: full of wit and free of self-pity. Deftly turning inside out the dystopian scenario, Yoko Tawada creates an irrepressibly funny, playfully joyous novel, with a legerdemain uniquely her own.”

https://library.memoryoftheworld.org/#/book/47e73d59-a294-4e62-bae5-cac3b793cba3

https://bombmagazine.org/articles/yokotawada-theemissary/
https://www.nytimes.com/2018/04/17/books/review-emissary-yoko-tawada.html
https://www.asymptotejournal.com/blog/2018/05/24/in-review-the-emissary-by-yoko-tawada/
https://metropolisjapan.com/yoko-tawada-the-emissary/

“Yoko Tawada’s new novel is a breathtakingly light-hearted meditation on mortality and fully displays what Rivka Galchen has called her “brilliant, shimmering, magnificent strangeness”

Japan, after suffering from a massive irreparable disaster, cuts itself off from the world. Children are so weak they can barely stand or walk: the only people with any get-go are the elderly. Mumei lives with his grandfather Yoshiro, who worries about him constantly. They carry on a day-to-day routine in what could be viewed as a post-Fukushima time, with all the children born ancient—frail and gray-haired, yet incredibly compassionate and wise. Mumei may be enfeebled and feverish, but he is a beacon of hope, full of wit and free of self-pity and pessimism. Yoshiro concentrates on nourishing Mumei, a strangely wonderful boy who offers “the beauty of the time that is yet to come.”

A delightful, irrepressibly funny book, The Emissary is filled with light. Yoko Tawada, deftly turning inside-out “the curse,” defies gravity and creates a playful joyous novel out of a dystopian one, with a legerdemain uniquely her own.

Review
“A phantasmagoric representation of humanity’s fraught relationship with technology and the natural world.”
- Brian Haman, *Asian Review of Books*

“Charming, light, and unapologetically strange…There’s an impish delight in [each] sentence that energizes what is otherwise a despairing note. Tawada finds a way to make a story of old men trapped in unending life and children fated to die before their time joyful, comic, and―frankly―a huge comfort.”
- J.W. McCormack, *BOMB*

“An airily beautiful dystopian novella about mortality. Tawada’s quirky style and ability to jump from realism to abstraction manages to both chastise humanity for the path we are taking towards destruction and look hopefully toward an unknown future.”
- Enobong Essien, *Booklist*

“”Like sashimono woodwork, Tawada needs no exposition to nail down her dystopia. The Emissary achieves a technically impossible balance of open-hearted fable and cold-blooded satire.””
- Financial Times

“Wonderful―what is truly affecting is Tawada’s language, which jumps off the page and practically sings.”
- NPR

“A Hieronymus Bosch–like painting in novel form. Tawada’s charming surrealism imparts an off-kilter quality to her work that would make it feel slight, if it weren’t for the density, precision, and uniqueness of her mind. A slim and beguiling novel in Margaret Mitsutani’s enchanting and flawless translation.”
- Marie Mutsuki Mockett, *Public Books*

“Recessive, lunar beauty [with] a high sheen. Her language has never been so arresting―flickering brilliance.”
- Parul Sehgal, *The New York Times*

“"Everywhere in the Japan of Yoko Tawada’s The Emissary, strange mutations unfold. In the years (perhaps decades, or perhaps generations) since an environmental catastrophe, the basic tenets of biology have broken down. Children are born weak, with birdlike bones and soft teeth. The elderly, in turn, are youthful, athletic, seem to have been ‘robbed of death’. Men begin to experience menopausal symptoms as they age. Everyone’s sex changes inexplicably and at random at least once in their lives…Tawada has gifted us a quiet new magical realism for the Anthropocene."”
- Rebecca Bates, *The White Review*

“The Emissary carries us beyond the limits of what is it is to be human, in order to remind us of what we must hold dearest in our conflicted world, our humanity.”
- Sjón

“Persistent mystery is what is so enchanting about Tawada’s writing. Her penetrating irony and deadpan surrealism fray our notions of home and combine to deliver another offbeat tale. An absorbing work from a fascinating mind.”
- Kirkus Reviews (starred review)

About the Author
Yoko Tawada―“strange, exquisite” (The New Yorker )―was born in Tokyo in 1960 and moved to Germany when she was twenty-two. She writes in both Japanese and German and has received the Akutagawa Prize, the Adelbert von Chamisso Prize, the Goethe Medal, and the Tanizaki Prize."]]]></description>
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    <title>What Doctors Learned from Swabbing Subways in Different Countries | WIRED - YouTube</title>
    <dc:date>2021-07-26T22:14:04+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=euz5QpzNgXk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“A subway pole, a turnstile, a seat....what kinds of bacteria and microbes live on these surfaces? Dr. Christopher Mason and his team swabbed every subway station in New York City, and many around the globe, to come up with the answers.”

“And if you look at your shoe, for example, we can tell what about 90% certainty where in the world you came from just from the microbes that you’re carrying with you.”

 “We’ve seen a good number of extremophiles in the subway in particular some that can survive in say the cooling waters of nuclear power plants, like deinococcus radiodurans is one or other bacteria that are known to survive on stone or survive under high UV light or a lot of radiations. The subway system and the city’s surfaces enrich for and probably select for these hardier microbes that can survive on rough surfaces full of toxins and radiation.”]]></description>
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    <title>Slowdown Papers – Medium</title>
    <dc:date>2020-09-29T19:29:08+00:00</dc:date>
    <link>https://medium.com/slowdown-papers</link>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brooklyn"/>
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</item>
<item rdf:about="http://shureuniv.org/english">
    <title>English | シューレ大学 Shure University</title>
    <dc:date>2019-09-25T06:34:11+00:00</dc:date>
    <link>http://shureuniv.org/english</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["About Shure University
Shure Tokyo is the parent organization of Shure University, an NPO founded by students it in 1999 who wanted to continue their education.

No qualifications necessary
Anyone who is 18 or older that wants to learn and express themselves is welcome to join, and there are no GPA or otherwise academic-based matriculation requirements. However, because Shure University not an accredited university as recognized by the Japanese Ministry of Education, students are unable to obtain a bona fide diploma.

No pre-defined curriculum
There is no academic credit system, and students are not required to take compulsory courses. Each student chooses which days to attend school, and how many years he or she wants to attend. The students can thereby discover their deep passions by taking a variety of classes and activities in whatever subjects interest them. While there are many students who attend classes at the Shure University campus, there are also students who attend classes remotely via email, telephone, and Internet teleconferencing utilities like Skype.

Reaching out to others, slowly
There are approx. 40 students total at Shure University, and almost all have experienced episodes with previous school truancy or seclusion from society (hikikomori). However, since the desire to connect with other people remains, students strive to make friends and maintain relations.

Personal Courses and Group Projects
There are many unique courses available at Shure including: Alternative Education, Academic History, School Truancy, Family Discourse, Life Discourse, Cultural History, Politics and Economics, World History, Research Seminar, Creating Your Own Way of Life, Literary Discussion, Pop Music, Computer Science, Tokyo Cultural Activities, Live Theater, Modern and Fine Arts, as well as language classes such as English and Korean. A number of project -based classes are available as well including: Film, Drama, Solar Powered Cars (how to build and race), as well as Music.

Consulting with an Advisor
Meet with an advisor twice a year to develop and revise your academic plans at Shure. If you need to, you can also meet with an advisor at any time in between the bi-annual meetings.

Receive Counsel from Guest Lecturers as well as Compelling Advisors
Serizawa Shunsuke, Hirata Oriza, Shin Sugo, Hau Yasuo, Ozawa Makiko, Ueno Chizuko are just a few among approximately 50 advisors that you can choose from after deciding which lectures, courses, and workshops to attend.

Creating your own way of life
Most people in Japanese society assume that everybody graduates high school or university and then get jobs and become adults who thrive and engage in society. However, this way is not the only way to grow up.

Changing yourself to match society’s expectations is only one way to live. Another way is to create your own values through your own interests and experiences for the purpose of suiting your own lifestyle. How do you want to work? How do you want to spend your time? How do you want to build relationships with others? Students here try to create their own values with other students, staff members, advisers and other friends of Shure University.

Contact
Address: 28-27, Wakamatsu-cho, Shinjuku-ku, Tokyo, Japan (Google Map)
Tel: (+81)3-5155-9801
Fax: (+81)3-5155-9802
Mail: univ@shure.or.jp"]]></description>
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<item rdf:about="http://www.tokyototem.jp/">
    <title>Tokyo Totem | トーキョー・トーテム</title>
    <dc:date>2019-04-24T19:23:36+00:00</dc:date>
    <link>http://www.tokyototem.jp/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This publication is the result of a collaboration between international and Japanese authors and makers from various disciplines, ranging from art to social science and from urban studies to design. What they have in common is their interest and fascination with cities, and in particular Tokyo’s urban culture.

This eclectic group grew from an international urban research and exploration workshop on Tokyo organised by Amsterdam-based studio Monnik and hosted by Tokyo’s SHIBAURA HOUSE exactly 3 years ago, on 30 October 2012. Everybody’s efforts resulted in the essay’s, maps, photo essay’s, collage’s, poem’s, manga’s, illustrations and observation’s that have been collected in this book that is hard to categorize. It is called a guide, not because it helps you to find places to see, or places to eat or drink, but because it helps you to read and see the city differently. Each contribution let’s you experience a different city. You may look at the city through the eyes of a bathhouse connoisseur, a host, an architect, a topographer, a flaneur, a konbini anthropologist, a foreigner, an artist or a child. In a way each author is a guide, and thus this guide book is reality 46 guidebooks. Amongst your ‘guides’ are social design researcher Atsushi Miura, Tokyo Urban Basin Society president Norihisa Minagawa, architect Julian Worrall, architect Julian Worrall, artist Arne Hendriks, editor Kohei Fukazawa, architect Yasutaka Yoshimura, visual artist Jan Rothuizen, urbanism professor Christian Dimmer, anthropologist Gavin H. Whitelaw, bathhouse connoisseur Greg Dvorak and many others.

Learn more about this book, and check out the general information, table of contents, introduction and some selected sample material from the book. And come to the book launch and the opening of the Tokyo Totem on October 30th."

[See also:

"Tokyo Totem, the ultimate guide for the befuddled Tokyoite, has finally come to the rescue"
https://www.timeout.com/tokyo/blog/tokyo-totem-the-ultimate-guide-for-the-befuddled-tokyoite-has-finally-come-to-the-rescue-040416

https://www.ideabooks.nl/9784904894286-tokyo-totem-a-guide-to-tokyo

"Among cities, Tokyo in particular seems to baffle foreigners. This subjective guidebook to the spectacular Japanese metropolis intends to help you navigate and read the city in a way that evokes both a sense of adventure and a feeling of belonging. A whole spectrum of seasoned urban explorers invites you to look, read, and experience Tokyo differently, offering insights and imaginative perspectives to understand the city, its facets, and wealth of features. From a tour of Roppongi’s uneven topography, konbini food offerings, and exploring bathhouses, to following the rhythm of temporal urban totems, this densely packed book guarantees an alternative take on Tokyo."

https://www.amazon.com/Tokyo-Totem-Guide-English-Japanese/dp/4904894286

"This publication is the result of a collaboration between international and Japanese authors and makers from various disciplines. What they have in common is their interest and fascination with cities, and in particular Tokyos urban culture. Everybodys efforts resulted in the essays, maps, photo essays, collages, poems, mangas, and observations that have been collected in this book that is hard to categorize. It is called a guide, not because it helps you to find places to see, eat or drink, but because it helps you to read and see the city differently. Each contribution lets you experience a different city. You may look at the city through the eyes of a bathhouse connoisseur, a host, an architect, a topographer, an artist, or a child."]]]></description>
<dc:subject>tokyo japan books exploration multimedia mixedmedia citie urban urbanism</dc:subject>
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<item rdf:about="https://en.wikipedia.org/wiki/Sayaka_Murata">
    <title>Sayaka Murata - Wikipedia</title>
    <dc:date>2019-01-27T21:01:11+00:00</dc:date>
    <link>https://en.wikipedia.org/wiki/Sayaka_Murata</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also Convenience Store Woman:
https://groveatlantic.com/book/convenience-store-woman/
https://www.newyorker.com/books/page-turner/sayaka-murata-eerie-convenience-store-woman-is-a-love-story-between-a-misfit-and-a-store
https://www.nytimes.com/2018/07/23/books/review-convenience-store-woman-sayaka-murata.html ]

"Sayaka Murata (村田沙耶香 Murata Sayaka) is a Japanese writer. She has won the Gunzo Prize for New Writers, the Mishima Yukio Prize, the Noma Literary New Face Prize, and the Akutagawa Prize.

Biography
Murata was born in Inzai, Chiba Prefecture, Japan in 1979. As a child she often read science fiction and mystery novels borrowed from her brother and mother, and her mother bought her a word processor after she attempted to write a novel by hand in the fourth grade of elementary school.[1] After Murata completed middle school in Inzai, her family moved to Tokyo, where she graduated from Kashiwa High School (attached to Nishogakusha University) and attended Tamagawa University.[2]

Kashiwa High School
Her first novel, Jyunyū (Breastfeeding), won the 2003 Gunzo Prize for New Writers.[3] In 2013 she won the Mishima Yukio Prize for Shiro-iro no machi no, sono hone no taion no (Of Bones, Of Body Heat, of Whitening City).[4] In 2016 her 10th novel, Konbini ningen (Convenience Store People), won the prestigious Akutagawa Prize,[5] and she was named one of Vogue Japan's Women of the Year.[6] Konbini ningen has sold over 600,000 copies in Japan, and in 2018 it became her first book to be translated into English, under the title Convenience Store Woman.[7]

Throughout her writing career Murata has worked part-time as a convenience store clerk in Tokyo.[8]

Writing style
Murata's writing explores the different consequences of nonconformity in society for men and women, particularly with regard to gender roles, parenthood, and sex.[9] Many of the themes and character backstories in her writing come from her daily observations as a part-time convenience store worker.[8] Societal acceptance of sexlessness in various forms, including asexuality, involuntary celibacy, and voluntary celibacy, especially within marriage, recurs as a theme in several of her works, such as the novels Shōmetsu sekai (Dwindling World) and Konbini ningen (Convenience Store Person), and the short story "A Clean Marriage."[10][11] Murata is also known for her frank depictions of adolescent sexuality in work such as Gin iro no uta (Silver Song)[12] and Shiro-iro no machi no, sono hone no taion no (Of Bones, of Body Heat, of Whitening City).[13]"]]></description>
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<item rdf:about="https://www.nytimes.com/2018/11/19/fashion/shopping-malls-asia.html">
    <title>Libraries, Gardens, Museums. Oh, and a Clothing Store. - The New York Times</title>
    <dc:date>2018-11-27T05:49:15+00:00</dc:date>
    <link>https://www.nytimes.com/2018/11/19/fashion/shopping-malls-asia.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[Shopping areas in Asia are about the experience, not just the retail sale.]]></description>
<dc:subject>malls libraries shopping retail experience asia 2018 cambodia korea seoul japan china shanghai hongkong kowloon tokyo museums gardens interiors architecture</dc:subject>
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<item rdf:about="http://ltwp.net/writing/tokyo_mini_map">
    <title>LTWP | Tokyo and the Mini-Map</title>
    <dc:date>2018-11-27T04:46:34+00:00</dc:date>
    <link>http://ltwp.net/writing/tokyo_mini_map</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[also here: https://github.com/ltwp/ltwp/blob/master/writing/tokyo_mini_map.md
https://tinyletter.com/gnamma/letters/gnamma-6-a-breather-tokyo-and-the-mini-map ]

"I went to Japan for the first time recently with my friend Nathan, after a decade of mounting interest credit to a boyhood of manga, Miyazaki, and Nintendo. Much of what we enjoyed was just walking around.

Tokyo in particular was dazzling in its balance of vastness and minute detail. Its differences from LA, the large city that I know best, are acute. I had been warned by friends that finding things in Japan, no less Tokyo, required patience, as there is no over-arching city structure, streets are rarely named, Google Maps spotty, and directions given completely relative. (Google Maps did prove immensely useful for getting within a ballpark.) Meanwhile, Los Angeles, while not completely a modernist’s dream, is mostly grids and scaffolded by well-labeled arteries. I regularly wish Google Maps could give me directions in the just-precise-enough way that Angelinos do: “take the 105 to the 110 North and get off at Figueroa… go up a bit, past the school, then it’ll be on your right.” In LA, these major roads provide a fairly immutable reference grid for the city. Tokyo residents must have their own techniques for finding things to the necessary fidelity of their city.

I picked up Fumihiko Maki’s City with a Hidden Past at Tsutaya Books in Daikanyama and ate it up as Tokyo revealed itself. The book has some history on land use and the growth patterns that shaped Edo-Tokyo. Knowing just a bit about land use, expansion, and topography make a city richer and more legible.

Modern Tokyo addressing can get you within a block of what you’re looking for; sub-block specificity, including which door on which floor of which unmarked apartment building, still requires tenacity. (Kudos to the Japanese Post.) In chapter 5, the author notes that the denser the neighborhood, the more the street gets used as personal space, and more “neighborliness” is often exhibited. (Note this was written before super-dense high-rises existed.) The denser the neighborhood, too, the harder to locate things tucked away. We found that, when seeking something nearby, people were excited to help and occasionally went to lengths to help us locate it.

[image]

Maki’s book discusses the crucial distinction between street as ground versus street as figure across urban and architectural scales. Central Tokyo feels very much the former. Details of careful homesteading fill your visual space while tiny, unlabeled streets function as just a vessel. In Los Angeles, it’s the opposite—the grand, charactered avenues and freeways navigate a sea of monotone housing. (The Hollywood and East side hills don’t quite fit this paradigm, though.)

[image]

Maki’s book discusses the crucial distinction between street as ground versus street as figure across urban and architectural scales. Central Tokyo feels very much the former. Details of careful homesteading fill your visual space while tiny, unlabeled streets function as just a vessel. In Los Angeles, it’s the opposite—the grand, charactered avenues and freeways navigate a sea of monotone housing. (The Hollywood and East side hills don’t quite fit this paradigm, though.)

[image]

Chapter 3, on the Japanese sense of place and microtopology, notes that the orienting landmarks of Tokyo are hills, shrines, department stores, convenience stores, and perhaps historic sites. I started to collect the mini-maps I found across our Japan trip, as reference ephemera to see what things were chosen as orientation markers, and how large a scale was deemed necessary to make a place findable again. Schools, Museums, and recognizable chain brands are indeed frequent, as are the through lines of train tracks and rivers. Hills have largely been folded into placenames proper. Streets and buildings bounce between foreground and background in the maps, and in some the streets are actually labeled. Not all have North pointed up. There is a lot of variety, but nearly all are tightly cropped. Some mini-maps even expect that their location be found virtually only by a visual of the local urban topology. Directions become completely relative: dependent on your ability to find a landmark, know which way is North, and remember where you got off the train.

[image]

Nearly anyone who has played videogames, and the vast swath of the wealthy world that has used GIS navigation software, is accustomed to using a mini-map for local or superlocal orientation and contextual construction. The crucial decisions of what’s included in the map depend on expected audience, common references, and necessary fidelity: the same decisions we make giving directions in any city.

Peter Turchi, in Maps of the Imagination, writes about prototypical use of the digital mini-map:

<blockquote>A common premise of [video] games is that they show the player only a very limited portion of physical ‘space’ at any one time. The key to success is […] to find your way through the [landscape], which is revealed only in fragments, creating mystery and suspense.</blockquote>

Navigating a city isn’t a video game (though Pokémon Go and Geocaching challenge that). However, getting around a new city—especially one without legible large-scale structure—can feel like exploring the unknown as one moves between points of comprehension (intersections, plazas, landmarks).

From the ground, every city exposes itself in pieces, and the urbanite’s mental map accumulates with time and observation. Now that I am back in Southern California, my mental map of Tokyo is but a patchwork of mini-maps, subway lines, and locally understood spaces—all quickly stagnating until the dynamic replenishment of future conversations, more maps, and, hopefully, another trip.

— Lukas
3 August 2018"]]></description>
<dc:subject>srg tokyo japan maps 2018 mapping losangeles lukaswinklerprins</dc:subject>
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<item rdf:about="https://calif.cc/brand/x-girl/">
    <title>エックスガール(X-girl)公式通販サイト│ calif(カリフ)｜B's INTERNATIONAL公式通販サイト</title>
    <dc:date>2018-10-10T05:09:54+00:00</dc:date>
    <link>https://calif.cc/brand/x-girl/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: https://www.instagram.com/xgirljp/
https://calif.cc/

http://www.monikamogi.com/
https://www.instagram.com/monimogi/ ]

[via: https://www.itsnicethat.com/articles/monika-mogi
https://metalmagazine.eu/en/post/interview/monika-mogi-challenging-japanese-culture
https://www.vice.com/en_us/article/5gj9gz/meet-monika-mogi-tokyos-photography-prodigy
http://doubledotmagazine.com/interview-with-tokyo-photographer-monika-mogi/ ]]]></description>
<dc:subject>fashion japan california x-girl monikamogi photography clothing srg tokyo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b93f69f7bb2d/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:california"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:x-girl"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:monikamogi"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:srg"/>
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<item rdf:about="https://are.na/ha-duong/tokyo-youth-culture">
    <title>Are.na / Tokyo Youth Culture</title>
    <dc:date>2018-10-09T22:03:53+00:00</dc:date>
    <link>https://are.na/ha-duong/tokyo-youth-culture</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>japan youth tokyo are.na</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:296945b18ef6/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tokyo"/>
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<item rdf:about="https://www.youtube.com/watch?v=qvoZjbp9R1w">
    <title>Everyday life in bygone days in Tokyo, 1966 昭和東京 - YouTube</title>
    <dc:date>2018-10-03T04:32:11+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=qvoZjbp9R1w</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A German camera crew filmed this record of family life in Tokyo 45 years ago. The children go off to school and father works in the factory. It was the start of the industrial boom in the so-called Showa time. Labour was still cheap. TV sets were hand soldered. Many parts were still manufactured in small home industries. Finally the family gathers again in their tiny homes. Futons behind the wall doors. A time Japanese are still nostalgic about."]]></description>
<dc:subject>japan tokyo srg 1966 video</dc:subject>
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<item rdf:about="https://www.newyorker.com/culture/cultural-comment/what-it-would-take-to-set-american-kids-free">
    <title>What It Would Take to Set American Kids Free | The New Yorker</title>
    <dc:date>2018-09-20T02:28:19+00:00</dc:date>
    <link>https://www.newyorker.com/culture/cultural-comment/what-it-would-take-to-set-american-kids-free</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["My trip coincided with the publication of “The Anti-Helicopter Parent’s Plea: Let Kids Play!” in the Times Magazine, a masterful bit of parental trolling whose comment section reached a symbolic two thousand and sixteen entries before it was closed. The dozens of adventure playgrounds in Tokyo offer, as a public amenity, what Mike Lanza (the “anti-helicopter parent” in question) says he created in his private Menlo Park, California, back yard: a challenging and unscheduled place for physical play that is largely free of parental supervision. Lanza is far from alone in believing that American children have a play problem. Take a look at Lenore Skenazy’s Free-Range Kids blog, which is peppered with reports of cops and child-protective services being called when parents leave their kids to play unsupervised. Lanza’s own book, “Playborhood,” describes the kids-can’t-play problem as both a social one and a spatial one. Without broader community support, such back-yard attempts at free play like his are doomed to become exercises in vanity. Look at them on the roof! My kids are more resilient than yours!

The overprogrammed, oversterilized, overprotected lives of (some of) America’s youth are the result of a nexus of changes to work life, home life, and street life that have made bringing up babies into a series of consumer choices, from unsubsidized day care forward. It is the public realm—where the Tokyo playgrounds operate—that needs to change for American children to have unstructured afternoons and weekends, for them to bike and walk between school and the playground, to see packs of kids get together without endless chains of parental texts. Kawasaki City, where Kodomo Yume Park is located, created its own Ordinance on the Rights of the Child, in 2001, which includes an article promising to make “secure and comfortable places for children.”

But independence requires infrastructure. Hanegi Playpark was founded in 1975 by Kenichi Omura, a landscape architect, and his wife Shoko Omura, an English teacher. They translated the key book on adventure play into Japanese and then travelled to Europe to meet with the woman who was their prime mover from the nineteen-fifties on: Lady Allen of Hurtwood. Lady Allen had seen the first such “junk playground” in Emdrup, outside Copenhagen, where it became a refuge for youth then under German occupation. She spent subsequent decades as a “propagandist for children’s play.” In Tokyo, a low crime rate and a society accustomed to community ownership of public space has created, around Hanegi and approximately thirteen other such parks, a city where there is more room for innocent error.

The road to Kodomo Yume Park (which means “children’s dream”) was narrow and winding, and there was no sidewalk for much of the way. And yet it was safe, because the tiny cars knew to look for pedestrians and cyclists, and drove at slower speeds. There were people in the houses and stores along the route, and few of the buildings were more than three or four stories tall, offering “eyes on the street” as well as adults who might be appealed to for help. The neighborhood, like the adventure playground, operated as a safety net, ready in case of trouble but not often deployed. A mother who was camped out at Yume Park with five children, the youngest a three-month-old, told me a story—hilarious for her—that would have been a nightmare for me. Her two-year-old, who had observed his five-year-old brother being sent to the corner to buy bread, decided he could do the same, and turned up at the shop with an empty wallet. I looked around at the protected bike lanes, the publicly funded playground workers, and the houses where people are home in the afternoon. Do I wish that my kids—who are five and nine**—**could roll on their own from school to the park, meet friends, and appear on the doorstep at 5 p.m., muddy, damp, and full of play? I do, but then I think of the Saturdays dominated by sports schedules, the windswept winter playgrounds, the kids hit by cars in crosswalks, with the light. It isn’t the idea of my kids holding a hammer or saw that scares me but the idea of trying to make community alone.

At the adventure playgrounds, the kids build the equipment they need under the hands-off supervision of play workers trained to facilitate but not to interfere. I’ve read the diary of the first play worker, John Bertelsen, who ran the adventure playground that Lady Allen visited at Emdrup. His account of the day-to-day in 1943 sounds quite similar to what I observed in 2016.

<blockquote>At 10:45 am today the playground opened . . . We began by moving all the building material in the open shed. Bricks, boards, fireposts and cement pillars were moved to the left alongside the entrance, where building and digging started right away. The work was done by children aged 4 to 17. It went on at full speed and all the workers were in high spirits; dust, sweat, warning shouts and a few scratches all created just the right atmosphere. The children’s play- and work-ground had opened, and they knew how to take full advantage of it.</blockquote>

The do-it-yourself rule is, to a certain extent, self-limiting, as towers built with simple tools are shorter than those ordered from catalogues. I saw plenty of children up on roofs—the rule was, if you can climb up without a ladder, relying on your own strength and ingenuity, it’s O.K. In a documentary on The Land, a Welsh adventure playground, a play worker describes the difference between risk and hazard: a risk you take on knowingly; a hazard is unexpected, like a nail sticking out of a board. The play workers are there to remove hazards and leave the risks.

Journalism about adventure play tends to emphasize the danger, but these spaces actually need to be seen as exceptionally porous community centers, in which lots of social activities, for parents and children, occur. “Risky play” is a way for children to test their own limits, and because the parks are embedded in residential communities they can do so at their own pace. Hitoshi Shimamura, who runs the organization Tokyo Play, told me that he has sessions to teach parents to use the tools, because their fear derived from their own lack of experience. Kids also need time to ease into the freedom and figure out which activity most appeals to them. If adventure play were to become permanent in New York, it would do better as a permanent fixture in a neighborhood than as a weekend destination. At a temporary adventure playground set up by Play:Ground on Governors Island this summer, a sign on the fence read, “Your children are fine without advice and suggestions,” though legally, children under six had to be accompanied by a parent or guardian.

The “adventure” can be with water, with tools, with real fire, or just with pretend kitchen equipment, allowing the parks to appeal to a broad array of children, and over a longer period of time. What this means, in practice, is a range of activity during days, weeks, or even years. In the morning, adventure playgrounds become settings for an urban version of a forest preschool, where small children learn the basics of getting along outdoors. In the afternoon, they become a place for older kids to let off steam between school and homework; many communities in Tokyo play a public chime at five in the afternoon—a mass call that is it time to go home. On the weekends, Yume Park might ring with the hammers of children, but for teen-agers there are other options: a recording studio with padded walls; a wooden shed piled with bike parts for the taking; a quiet, shaded place for conversation. Bertelsen wrote in his diary,

<blockquote>Occasionally, complaints have been made that the playground does not possess a smart enough appearance, and that children cannot possibly be happy playing about in such a jumble. To this I should only like to say that, at times, the children can shape and mould [sic] the playground in such a way that it is a monument to their efforts and a source of aesthetic pleasure to the adult eye; at other times it can appear, to the adult eye, like a pigsty. However, children’s play is not what the adults see, but what the child himself experiences.</blockquote>

One of my favorite moments in Tokyo occurred late one afternoon at a smaller adventure playground, Komazawa Harappa, a long sliver of space in a tight residential neighborhood, masked from the street by a simple hedge. Three kids fanned the flames in a fire pit; a baby padded about a dirty pool dressed in a diaper; two small boys, hammering on a house, had remembered to take their shoes off on the porch. But not everyone felt the need to be busy. Two teen-age girls had climbed up on the roof of the play workers’ house, via a self-built platform of poles and planks, and seemed deep in conversation. Suddenly, they began to sing, their clear voices ringing out over the open space."]]></description>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sfsh"/>
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<item rdf:about="https://sprudge.com/coffee-wrights-a-humble-cafe-in-tokyos-sangenjaya-neighborhood-119372.html">
    <title>Coffee Wrights: A Charming Cafe In Tokyo’s Sangenjaya Neighborhood</title>
    <dc:date>2018-08-01T06:51:13+00:00</dc:date>
    <link>https://sprudge.com/coffee-wrights-a-humble-cafe-in-tokyos-sangenjaya-neighborhood-119372.html</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>cafes japan tokyo sangenjaya coffeeshops coffeehouses</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8774b0a72081/</dc:identifier>
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<item rdf:about="https://www.eater.com/2017/2/21/14670944/best-pizza-tokyo-guide">
    <title>Tokyo Neapolitan: The New Wave of Japanese Pizza - Eater</title>
    <dc:date>2018-07-25T04:52:45+00:00</dc:date>
    <link>https://www.eater.com/2017/2/21/14670944/best-pizza-tokyo-guide</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>pizza tokyo japan craigmod 2017 food restaurants</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://black-buddha.com/tokyo">
    <title>Tokyo | Black Buddha</title>
    <dc:date>2018-07-25T04:29:05+00:00</dc:date>
    <link>https://black-buddha.com/tokyo</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>tokyo japan travel</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.gettyimages.in/photos/morioka-shoten?mediatype=photography&amp;phrase=morioka%20shoten&amp;sort=mostpopular">
    <title>Morioka Shoten Pictures and Photos | Getty Images</title>
    <dc:date>2018-07-25T04:19:21+00:00</dc:date>
    <link>https://www.gettyimages.in/photos/morioka-shoten?mediatype=photography&amp;phrase=morioka%20shoten&amp;sort=mostpopular</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[related bookmark from 2015: https://pinboard.in/u:robertogreco/b:3eeb1d73121f ]

[posted to Tumblr in 2015: https://robertogreco.tumblr.com/post/129125844778/psfk-via-jen-lowe-a-new-bookstore-opened ]

[See also:
https://www.takram.com/projects/a-single-room-with-a-single-book-morioka-shoten/
https://mg.co.za/article/2015-12-28-japanese-bookshop-stocks-only-one-book-at-a-time
https://qz.com/610114/this-tiny-japanese-bookstore-only-stocks-one-title-at-a-time/
https://black-buddha.com/shop/morioka-shoten
https://www.wallpaper.com/lifestyle/essential-reading-the-single-book-morioka-shoten-bookstore-opens-in-ginza-tokyo
https://www.herenow.city/en/tokyo/venue/morioka-shoten/
https://www.wgsn.com/blogs/meet-morioka-shoten-the-book-store-that-stocks-one-book/http://www.spoon-tamago.com/2015/09/06/morioka-shoten-ginza-a-bookstore-that-only-carries-one-title-per-week/
https://inhabitat.com/fascinating-tokyo-bookstore-stocks-just-one-book-a-week/ ]]]></description>
<dc:subject>moriokashoten bookshops bookstores booksellers japan tokyo ginza design interiors retail lcproject openstudioproject books publishing noticings 2015 yoshiyukimorioka curation decisionmaking minimalism audiencesofone</dc:subject>
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<item rdf:about="http://www.sightline.org/2017/09/21/yes-you-can-build-your-way-to-affordable-housing/">
    <title>Yes, You Can Build Your Way to Affordable Housing | Sightline Institute</title>
    <dc:date>2017-09-25T02:03:01+00:00</dc:date>
    <link>http://www.sightline.org/2017/09/21/yes-you-can-build-your-way-to-affordable-housing/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Houston, Tokyo, Chicago, Montreal, Vienna, Singapore, Germany—all these places have built their way to affordable housing. They’re not alone. Housing economist Issi Romem has detailed the numerous American metro areas that have done the same: Atlanta, Charlotte, Dallas, Las Vegas, Orlando, Phoenix, Raleigh, and more. Many more. They have done so mostly by sprawling like Houston.

In fact, Romem’s principal finding is that US cities divide into three groups: expansive cities (sprawling cities where housing is relatively affordable such as those just listed), expensive cities (which sprawl much less but are more expensive because they resist densification, typified by San Francisco), and legacy cities (like Detroit, which are not growing).

Romem’s research makes clear that the challenge for Cascadian cities is to densify their way to affordability—a rare feat on this continent. Chicago and Montreal are the best examples mentioned above.

In Cascadia’s cities, though, an ascendant left-leaning political approach tends to discount such private-market urbanism for social democratic approaches like that in Vienna.

Unfortunately, the Vienna model, like the Singapore one, may not be replicable in Cascadia. Massive public spending and massive public control work in both Vienna and Singapore, but they depend on long histories of public-sector involvement in housing plus entrenched institutions and national laws that are beyond the pale of North American politics. No North American jurisdiction has ever come close to building enough public or nonprofit housing to keep up with aggregate housing demand. This statement is not to disparage subsidized housing for those at the bottom of the economic ladder or with special needs. Cascadia’s social housing programs provide better residences for hundreds of thousands of people who would otherwise be in substandard homes or on the streets.

But acknowledging the implausibility of the Vienna model for Cascadia may help us have realistic expectations about how large (well, small) a contribution public and nonprofit housing can make in solving the region’s housing shortage writ large. Accepting that reality may help us guard against wishful thinking.

Because adopting a blinkered view of housing models is dangerous. Adopting the view that Vienna, for example, is the one true path to the affordable city—a view that fits well with a strand of urban Cascadia’s current left-leaning politics, which holds that profit-seeking in homebuilding is suspect and that capitalist developers, rather than being necessary means to the end of abundant housing, are to be resisted in favor of virtuous not-for-profit or public ventures—runs the risk of taking us to a different city entirely.

In the political, legal, and institutional context of North America, trying to tame the mega-billion-dollar home building industry—and the mega-trillion dollar real-estate asset value held by homeowners and companies—in order to steer the entire housing economy toward a Viennese public-and-nonprofit model may end up taking us not to Vienna at all but to a different city. It might end up delivering us to San Francisco. So . . ."]]></description>
<dc:subject>housing houston tokyo chicago montreal vienna singapore germany economics policy cascadia sanfrancisco seattle phoenix atlanta chrarlotte dallas lasvegas orlando raleigh sprawl northamerica us canada</dc:subject>
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    <title>The Future of Cities – Medium</title>
    <dc:date>2016-12-25T07:02:13+00:00</dc:date>
    <link>https://medium.com/@oscarboyson/the-future-of-cities-ba4e26c807fe#.2zmgy274v</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[video (embedded): https://www.youtube.com/watch?v=xOOWk5yCMMs ]

"Organic Filmmaking and City Re-Imagining

What does “the future of cities” mean? To much of the developing world, it might be as simple as aspiring to having your own toilet, rather than sharing one with over 100 people. To a family in Detroit, it could mean having non-toxic drinking water. For planners and mayors, it’s about a lot of things — sustainability, economy, inclusivity, and resilience. Most of us can hope we can spend a little less time on our commutes to work and a little more time with our families. For a rich white dude up in a 50th floor penthouse, “the future of cities” might mean zipping around in a flying car while a robot jerks you off and a drone delivers your pizza. For many companies, the future of cities is simply about business and money, presented to us as buzzwords like “smart city” and “the city of tomorrow.”

I started shooting the “The Future of a Cities” as a collaboration with the The Nantucket Project, but it really took shape when hundreds of people around the world responded to a scrappy video I made asking for help.

Folks of all ages, from over 75 countries, volunteered their time, thoughts, work, and footage so that I could expand the scope of the piece and connect with more people in more cities. This strategy saved me time and money, but it also clarified the video’s purpose, which inspired me to put more energy into the project in order to get it right. I was reading Jan Gehl, Jane Jacobs, Edward Glaeser, etc. and getting excited about their ideas — after seeing what mattered to the people I met in person and watching contributions from those I didn’t, the video gained focus and perspective.

If I hired a production services outfit to help me film Mumbai, it would actually be a point of professional pride for the employees to deliver the Mumbai they think I want to see. If some young filmmakers offer to show me around their city and shoot with me for a day, we’re operating on another level, and a very different portrait of a city emerges. In the first scenario, my local collaborators get paid and I do my best to squeeze as much work out of the time period paid for as possible. In the second, the crew accepts more responsibility but gains ownership, hopefully leaving the experience feeling more empowered.

Architect and former mayor of Curitiba Jaime Lerner famously said “if you want creativity, take a zero off your budget. If you want sustainability, take off two zeros.” It’s been my experience that this sustainability often goes hand-in-hand with humanity, and part of what I love about working with less resources and money is that it forces you to treat people like human beings. Asking someone to work with less support or equipment, or to contribute more time for less money, requires a mutual understanding between two people. If each person can empathize for the other, it’s been my experience that we’ll feel it in the work — both in the process and on screen.

Organic filmmaking requires you to keep your crew small and your footprint light. You start filming with one idea in mind, but the idea changes each day as elements you could never have anticipated inform the bigger picture. You make adjustments and pursue new storylines. You edit a few scenes, see what’s working and what’s not, then write new scenes. Shoot those, cut them in, then go back and write more. Each part of the process talks to the other. The movie teaches itself to be a better movie. Because organic is complicated, it can be tricky to defend and difficult to scale up, but because it’s cheap and low-resource, it’s easier to experiment. Learning about the self-organizing, living cities that I did on this project informed how we made the video. And looking at poorly planned urban projects reminded me of the broken yet prevailing model for making independent film in the U.S., where so many films are bound to fail — often in a way a filmmaker doesn’t recover from — before they even begin.

Jane Jacobs said that “cities have the capability of providing something for everybody, only because, and only when, they are created by everybody.” I’ve worked on videos for companies, for the guy in the penthouse, for nobody in particular, in the developing world, with rich people and poor people, for me, for my friends, and for artists. I’m so thankful for everybody who allowed me to make this film the way we did, and I hope the parallels between filmmaking and city building — where the stakes are so much higher — aren’t lost on anyone trying to make their city a better place. We should all be involved. The most sustainable future is a future that includes us all.

“The Future of Cities” Reading List

(There’s a longer list I discovered recently from Planetizen HERE but these are the ones I got into on this project — I’m excited to read many more)

The Death and Life of American Cities by Jane Jacobs
The Triumph of the City: How Our Greatest Invention Makes Us Richer, Smarter, Greener, Healthier, and Happier by Edward Glaeser
Cities for People and Life Between Buildings by Jan Gehl
The Well-Tempered City: What Modern Science, Ancient Civilizations, and Human Nature Teach Us About the Future of Urban Life by Jonathan Rose(just came out — incredible)
Walkable City: How Downtown Can Save America, One Step at a Time by Jeff Speck
The City of Tomorrow: Sensors, Networks, Hackers, and the Future of Urban Life by Carlo Ratti and Matthew Claudel
Happy City: Transforming Our Lives Through Urban Design by Charles Montgomery
Dream Cities: Seven Urban Ideas That Shape the World by Wade Graham
Connectography: Mapping The Future of Global Civilization by Parag Khanna
Delirious New York by Rem Koolhaas
Low Life and The Other Paris by Luc Sante
A History of Future Cities by Daniel Brook
Streetfight: Handbook for the Urban Revolution by Janette Sadik-Khan and Seth Solomonow
Tactical Urbanism: Short-term Action for Long-Term Change by Mike Lydon & Anthony Garcia
Living In The Endless City, edited by Ricky Burdett and Deyan Sudjic

“The Future of Cities” Select Interviewees:
David Hertz & Sky Source
Vicky Chan & Avoid Obvious Architects
Carlo Ratti: Director, MIT Senseable City Lab Founding Partner, Carlo Ratti Associati
Edward Glaeser: Fred and Eleanor Glimp Professor of Economics, Harvard University Author of The Triumph of the City
Helle Søholt: Founding Parner & CEO, Gehl Architects
Ricky Burdett: Director, LSE Cities/Urban Age
Lauren Lockwood, Chief Digital Officer, City of Boston
Pablo Viejo: Smart Cities Expert & CTO V&V Innovations, Singapore
Matias Echanove & Urbz, Mumbai
Janette Sadik-Khan: Author, Advisor, & Former NYC DOT Commissioner
Abess Makki: CEO, City Insight
Dr. Parag Khanna: Author of Connectography
Stan Gale: CEO of Gale International, Developer of Songdo IBD
Dr. Jockin Arputham: President, Slum Dwellers International
Morton Kabell: Mayor for Technical & Environmental Affairs, Copenhagen]]></description>
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    <dc:date>2016-11-30T05:16:43+00:00</dc:date>
    <link>http://www.newyorker.com/culture/cultural-comment/what-it-would-take-to-set-american-kids-free</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“Play freely at your own risk,” a well-known sign at Tokyo’s oldest adventure playground, Hanegi Playpark, reads. All three elements—play, freedom, risk—are in ample evidence at Kodomo Yume Park, a newer addition to the city’s play infrastructure. There’s an open space where young kids are building a village with their own hands, and a mesa of dirt, donated by a construction company, that has been riddled with canyons and holes. I was in Japan to visit adventure playgrounds for book research, and at every playground, at some point, a child poured a bucket of water down a trench, just to see where it would flow. News articles about adventure playgrounds tend to focus on the hammers and the saws, but for many urban children simply mucking about can be a pleasurable way of spending an afternoon. I was reminded of my own younger brother, who never found a stream or puddle too small to fall into. If Hanegi Park had been down the street, he would always have known where to go looking for mud.

My trip coincided with the publication of “The Anti-Helicopter Parent’s Plea: Let Kids Play!” in the Times Magazine, a masterful bit of parental trolling whose comment section reached a symbolic two thousand and sixteen entries before it was closed. The dozens of adventure playgrounds in Tokyo offer, as a public amenity, what Mike Lanza (the “anti-helicopter parent” in question) says he created in his private Menlo Park, California, back yard: a challenging and unscheduled place for physical play that is largely free of parental supervision. Lanza is far from alone in believing that American children have a play problem. Take a look at Lenore Skenazy’s Free-Range Kids blog, which is peppered with reports of cops and child-protective services being called when parents leave their kids to play unsupervised. Lanza’s own book, “Playborhood,” describes the kids-can’t-play problem as both a social one and a spatial one. Without broader community support, such back-yard attempts at free play like his are doomed to become exercises in vanity. Look at them on the roof! My kids are more resilient than yours!

The overprogrammed, oversterilized, overprotected lives of (some of) America’s youth are the result of a nexus of changes to work life, home life, and street life that have made bringing up babies into a series of consumer choices, from unsubsidized day care forward. It is the public realm—where the Tokyo playgrounds operate—that needs to change for American children to have unstructured afternoons and weekends, for them to bike and walk between school and the playground, to see packs of kids get together without endless chains of parental texts. Kawasaki City, where Kodomo Yume Park is located, created its own Ordinance on the Rights of the Child, in 2001, which includes an article promising to make “secure and comfortable places for children.”

But independence requires infrastructure. Hanegi Playpark was founded in 1975 by Kenichi Omura, a landscape architect, and his wife Shoko Omura, an English teacher. They translated the key book on adventure play into Japanese and then travelled to Europe to meet with the woman who was their prime mover from the nineteen-fifties on: Lady Allen of Hurtwood. Lady Allen had seen the first such “junk playground” in Emdrup, outside Copenhagen, where it became a refuge for youth then under German occupation. She spent subsequent decades as a “propagandist for children’s play.” In Tokyo, a low crime rate and a society accustomed to community ownership of public space has created, around Hanegi and approximately thirteen other such parks, a city where there is more room for innocent error.

The road to Kodomo Yume Park (which means “children’s dream”) was narrow and winding, and there was no sidewalk for much of the way. And yet it was safe, because the tiny cars knew to look for pedestrians and cyclists, and drove at slower speeds. There were people in the houses and stores along the route, and few of the buildings were more than three or four stories tall, offering “eyes on the street” as well as adults who might be appealed to for help. The neighborhood, like the adventure playground, operated as a safety net, ready in case of trouble but not often deployed. A mother who was camped out at Yume Park with five children, the youngest a three-month-old, told me a story—hilarious for her—that would have been a nightmare for me. Her two-year-old, who had observed his five-year-old brother being sent to the corner to buy bread, decided he could do the same, and turned up at the shop with an empty wallet. I looked around at the protected bike lanes, the publicly funded playground workers, and the houses where people are home in the afternoon. Do I wish that my kids—who are five and nine—could roll on their own from school to the park, meet friends, and appear on the doorstep at 5 p.m., muddy, damp, and full of play? I do, but then I think of the Saturdays dominated by sports schedules, the windswept winter playgrounds, the kids hit by cars in crosswalks, with the light. It isn’t the idea of my kids holding a hammer or saw that scares me but the idea of trying to make community alone.

At the adventure playgrounds, the kids build the equipment they need under the hands-off supervision of play workers trained to facilitate but not to interfere. I’ve read the diary of the first play worker, John Bertelsen, who ran the adventure playground that Lady Allen visited at Emdrup. His account of the day-to-day in 1943 sounds quite similar to what I observed in 2016.

<blockquote>At 10:45 am today the playground opened . . . We began by moving all the building material in the open shed. Bricks, boards, fireposts and cement pillars were moved to the left alongside the entrance, where building and digging started right away. The work was done by children aged 4 to 17. It went on at full speed and all the workers were in high spirits; dust, sweat, warning shouts and a few scratches all created just the right atmosphere. The children’s play- and work-ground had opened, and they knew how to take full advantage of it.</blockquote>

The do-it-yourself rule is, to a certain extent, self-limiting, as towers built with simple tools are shorter than those ordered from catalogues. I saw plenty of children up on roofs—the rule was, if you can climb up without a ladder, relying on your own strength and ingenuity, it’s O.K. In a documentary on The Land, a Welsh adventure playground, a play worker describes the difference between risk and hazard: a risk you take on knowingly; a hazard is unexpected, like a nail sticking out of a board. The play workers are there to remove hazards and leave the risks.

Journalism about adventure play tends to emphasize the danger, but these spaces actually need to be seen as exceptionally porous community centers, in which lots of social activities, for parents and children, occur. “Risky play” is a way for children to test their own limits, and because the parks are embedded in residential communities they can do so at their own pace. Hitoshi Shimamura, who runs the organization Tokyo Play, told me that he has sessions to teach parents to use the tools, because their fear derived from their own lack of experience. Kids also need time to ease into the freedom and figure out which activity most appeals to them. If adventure play were to become permanent in New York, it would do better as a permanent fixture in a neighborhood than as a weekend destination. At a temporary adventure playground set up by Play:Ground on Governors Island this summer, a sign on the fence read, “Your children are fine without advice and suggestions,” though legally, children under six had to be accompanied by a parent or guardian.

The “adventure” can be with water, with tools, with real fire, or just with pretend kitchen equipment, allowing the parks to appeal to a broad array of children, and over a longer period of time. What this means, in practice, is a range of activity during days, weeks, or even years. In the morning, adventure playgrounds become settings for an urban version of a forest preschool, where small children learn the basics of getting along outdoors. In the afternoon, they become a place for older kids to let off steam between school and homework; many communities in Tokyo play a public chime at five in the afternoon—a mass call that is it time to go home. On the weekends, Yume Park might ring with the hammers of children, but for teen-agers there are other options: a recording studio with padded walls; a wooden shed piled with bike parts for the taking; a quiet, shaded place for conversation. Bertelsen wrote in his diary,

<blockquote>Occasionally, complaints have been made that the playground does not possess a smart enough appearance, and that children cannot possibly be happy playing about in such a jumble. To this I should only like to say that, at times, the children can shape and mould [sic] the playground in such a way that it is a monument to their efforts and a source of aesthetic pleasure to the adult eye; at other times it can appear, to the adult eye, like a pigsty. However, children’s play is not what the adults see, but what the child himself experiences.</blockquote>

One of my favorite moments in Tokyo occurred late one afternoon at a smaller adventure playground, Komazawa Harappa, a long sliver of space in a tight residential neighborhood, masked from the street by a simple hedge. Three kids fanned the flames in a fire pit; a baby padded about a dirty pool dressed in a diaper; two small boys, hammering on a house, had remembered to take their shoes off on the porch. But not everyone felt the need to be busy. Two teen-age girls had climbed up on the roof of the play workers’ house, via a self-built platform of poles and planks, and seemed deep in conversation. Suddenly, they began to sing, their clear voices ringing out over the open space."]]></description>
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<item rdf:about="https://tinyletter.com/alexandralange/letters/dream-cities-the-new-york-that-never-was-the-playgrounds-we-don-t-have">
    <title>Dream cities: the New York that never was, the playgrounds we don't have.</title>
    <dc:date>2016-10-28T04:43:35+00:00</dc:date>
    <link>https://tinyletter.com/alexandralange/letters/dream-cities-the-new-york-that-never-was-the-playgrounds-we-don-t-have</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["And finally: How many people sent me this article from the New York Times Magazine on "the anti-helicopter parent"? Many many, including my own father. What is he trying to tell me? It's a masterful troll, but one which, unfortunately, leaves out much historical and contemporary context on the role of playgrounds in urban life.

As it happened, the day it popped up online, I happened to be visiting one of Tokyo's dozens of adventure playgrounds, which offer all the community, risk and autonomy of Mike Lanza's Menlo Park backyard, without the misogyny, gender stereotypes and high price. At the adventure playgrounds, the kids get to make the equipment they need, under the hands-off supervision of play workers trained to facilitate but not interfere. Rather than emphasizing only risk (though I saw plenty of children up on roofs), the adventure playgrounds are open for all kinds of play: with water, with tools, with real fire and pretend kitchen equipment. Articles on adventure play tend to emphasize the danger, but these spaces actually need to be seen as exceptionally porous community centers, in which lots of types of social activities, for parents and children, occur. One playworker told me he had sessions for parents in how to use tools, because their fear derived from their own lack of experience.

For there to be a real revolution in American children's lives, leading to greater independence, it can't come down to individual consumer choices and Lanza's mom-shaming. Independence requires a whole infrastructure of changes, from protected bike lanes to publicly-funded playground workers, to eyes on the street in the afternoon to less homework. Did I wish my kids could roll, on their own, from school to the park, meet friends, and appear on the doorstep when the clock chimed five, muddy, damp, full of what they played? (There are literal chimes at 5 p.m. in Tokyo.) But one sanitized backyard, in one of the wealthiest towns in America, won't make that happen. It's going to take a village, public funding, and broad cultural change."]]></description>
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<item rdf:about="http://www.ft.com/cms/s/0/023562e2-54a6-11e6-befd-2fc0c26b3c60.html">
    <title>Why Tokyo is the land of rising home construction but not prices - FT.com</title>
    <dc:date>2016-08-06T01:39:40+00:00</dc:date>
    <link>http://www.ft.com/cms/s/0/023562e2-54a6-11e6-befd-2fc0c26b3c60.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The city had more housing starts in 2014 than the whole of England. Can Japan’s capital offer lessons to other world cities?

It was the rapidity of what happened to the house next door that took us by surprise. We knew it was empty. Grass was steadily taking over its mossy Japanese garden; the upstairs curtains never moved. But one day a notice went up, a hydraulic excavator tore the house down, and by the end of next year it will be a block of 16 apartments instead.

Abruptly, we are living next door to a Tokyo building site. It is not fun. They work six days a week. Were this London, Paris or San Francisco, there would be howls of resident rage — petitions, dire warnings about loss of neighbourhood character, and possibly a lawsuit or two. Local elections have been lost for less.

Yet in our neighbourhood, there was not a murmur, and a conversation with Takahiko Noguchi, head of the planning section in Minato ward, explains why. “There is no legal restraint on demolishing a building,” he says. “People have the right to use their land so basically neighbouring people have no right to stop development.”

Here is a startling fact: in 2014 there were 142,417 housing starts in the city of Tokyo (population 13.3m, no empty land), more than the 83,657 housing permits issued in the state of California (population 38.7m), or the 137,010 houses started in the entire country of England (population 54.3m).

Tokyo’s steady construction is linked to a still more startling fact. In contrast to the enormous house price booms that have distorted western cities — setting young against old, redistributing wealth to the already wealthy, and denying others the chance to move to where the good jobs are — the cost of property in Japan’s capital has hardly budged.

This is not the result of a falling population. Japan has experienced the same “return to the city” wave as other nations. In Minato ward — a desirable 20 sq km slice of central Tokyo — the population is up 66 per cent over the past 20 years, from 145,000 to 241,000, an increase of about 100,000 residents.

[Chart: Change in house prices and population]

In the 121 sq km of San Francisco, the population grew by about the same number over 20 years, from 746,000 to 865,000 — a rise of 16 per cent. Yet whereas the price of a home in San Francisco and London has increased 231 per cent and 441 per cent respectively, Minato ward has absorbed its population boom with price rises of just 45 per cent, much of which came after the Bank of Japan launched its big monetary stimulus in 2013.

In Tokyo there are no boring conversations about house prices because they have not changed much. Whether to buy or rent is not a life-changing decision. Rather, Japan delivers to its people a steadily improving standard, location and volume of house.

In many countries, urban housing is becoming one of the great social and economic issues of the age. (Would Britain have voted for Brexit if more of the population could move to London?) It is worth investigating, therefore, how Tokyo achieved this feat, the price it has paid for a steady stream of homes, and whether there are any lessons to learn.

Like most institutions in Japan, urban planning was originally based on western models. “It’s similar to the United States system,” says Junichiro Okata, professor of urban engineering at the University of Tokyo.

Cities are zoned into commercial, industrial and residential land of various types. In commercial areas you can build what you want: part of Tokyo’s trick is a blossoming of apartment towers in former industrial zones around the bay. But in low-rise residential districts, there are strict limits, and it is hard to get land rezoned.

Subject to the zoning rules, the rights of landowners are strong. In fact, Japan’s constitution declares that “the right to own or to hold property is inviolable”. A private developer cannot make you sell land; a local government cannot stop you using it. If you want to build a mock-Gothic castle faced in pink seashells, that is your business.

In the cities of coastal California, zoning rules have led to paralysis and a lack of new housing supply, as existing homeowners block new development. It was a similar story in 1980s Tokyo.

“During the 1980s Japan had a spectacular speculative house price bubble that was even worse than in London and New York during the same period, and various Japanese economists were decrying the planning and zoning systems as having been a major contributor by reducing supply,” says André Sorensen, a geography professor at the University of Toronto, who has written extensively on planning in Japan.

But, indirectly, it was the bubble that laid foundations for future housing across the centre of Tokyo, says Hiro Ichikawa, who advises developer Mori Building. When it burst, developers were left with expensively assembled office sites for which there was no longer any demand.

As bad loans to developers brought Japan’s financial system to the brink of collapse in the 1990s, the government relaxed development rules, culminating in the Urban Renaissance Law of 2002, which made it easier to rezone land. Office sites were repurposed for new housing. “To help the economy recover from the bubble, the country eased regulation on urban development,” says Ichikawa. “If it hadn’t been for the bubble, Tokyo would be in the same situation as London or San Francisco.”

Hallways and public areas were excluded from the calculated size of apartment buildings, letting them grow much higher within existing zoning, while a proposal now under debate would allow owners to rebuild bigger if they knock down blocks built to old earthquake standards.

All of this law flows from the national government, and freedom to demolish and rebuild means landowners can quickly take advantage. “The city planning law and the building law are set nationally — even small details are written in national law,” says Okata. “Local government has almost no power over development.”

“Without rebuilding we can’t protect lives [from earthquakes],” says Noguchi in Minato ward, reflecting the prevailing view in Japan that all buildings are temporary and disposable, another crucial difference between Tokyo and its western counterparts. “There are still plenty of places with old buildings where it’s possible to increase the volume.”

Constant rebuilding helps to explain why housing starts in the city are so high: the net increase in homes is lower. Like our next-door neighbours, however, a rebuild often allows an increase in density.

All of this comes at a price, not financial, but one paid in other ways. Put simply, the modern Japanese cityscape — Tokyo included — can be spectacularly ugly. There is no visual co-ordination of buildings, little open space, and “high-quality” mainly means “won’t fall down in an earthquake”.

Some of Tokyo’s older apartment buildings give industrial Siberia a dystopian run for its money. The mock-Gothic castle is no flight of fancy: visit the Emperor love hotel, which (de) faces the canal in Meguro ward. Most depressing of all are the serried, endless ranks of cheap, prefab, wooden houses in the Tokyo suburbs.

“The Japanese system is extremely laissez-faire. It really is the minimum. And it’s extremely centralised and standardised. That means it is highly flexible in responding to social and economic change,” says Okata.

“On the other hand, it’s not much good at producing outcomes suited to a particular town in a particular place. It can’t produce attractive cities like the UK or Europe.” Okata wants to hand much more power to local government.

And yet. At the level of individual buildings, if you block from your vision whatever stands next door, Tokyo fizzes with invention and beauty. It is no coincidence that the country where architects can build has produced a procession of Pritzker prize winners.

Japanese urbanism, with its “scramble” pedestrian crossings, its narrow streets, its dense population and its superb public transport is looked to as a model, certainly in Asia, and increasingly across the rest of the world as well.

Most of all, Tokyo is fair. The ugliness is shared by rich and poor alike. So is the low-cost housing. In London, or in San Francisco, all share in the beauty, but some enjoy it from the gutter; others from high above the city, in the rationed seats, closer to the stars."]]></description>
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<item rdf:about="https://medium.com/todays-office/6-1-glimpses-of-the-future-e3fdb510dcc1#.3cho86rsf">
    <title>61 Glimpses of the Future — Today’s Office — Medium</title>
    <dc:date>2016-07-12T00:08:25+00:00</dc:date>
    <link>https://medium.com/todays-office/6-1-glimpses-of-the-future-e3fdb510dcc1#.3cho86rsf</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["1. If you want to understand how our planet will turn out this century, spend time in China, India, Indonesia, Nigeria and Brazil.

2. If you’re wondering how long the Chinese economic miracle will last, the answer will probably be found in the bets made on commercial and residential developments in Chinese 3rd to 6th tier cities in Xinjiang, Gansu, Qinghai and Tibet.

4. Touch ID doesn’t work at high altitude, finger prints are too dry.

5. You no longer need to carry a translation app on your phone. If there’s someone to speak with, they’ll have one on theirs.

6. A truly great border crossing will hold a mirror up to your soul.

9. The art of successful borderland travel is to know when to pass through (and be seen by) army checkpoints and when to avoid them.

10. Borders are permeable.

12. The premium for buying gasoline in a remote village in the GBAO is 20% more than the nearest town. Gasoline is harder to come by, and more valuable than connectivity.

13. After fifteen years of professionally decoding human behaviour, I’m still surprised by the universality of body language.

14. Pretentious people are inherently less curious.

15. Everything is fine, until that exact moment when it’s obviously not. It is easy to massively over/under estimate risk based on current contextual conditions. Historical data provides some perspective, but it usually comes down to your ability to read undercurrents, which in turn comes down to having built a sufficiently trusted relationship with people within those currents.

16. Sometimes, everyone who says they know what is going on, is wrong.

17. Every time you describe someone in your own country as a terrorist, a freedom is taken away from a person in another country. 

18. Every country has its own notion of “terrorism”, and the overuse, and reaction to the term in your country helps legitimise the crack-down of restive populations in other countries.

17. China is still arguably the lowest-trust consumer society in the world. If a product can be faked it will be. Out of necessity, they also have the most savvy consumers in the world.

18. After twenty years of promising to deliver, Chinese solar products are now practical (available for purchase, affordable, sufficiently efficient, robust) for any community on the edge-of-grid, anywhere in the world. Either shared, or sole ownership.

20. When a fixed price culture meets a negotiation culture, fun ensues.

21. The sharing economy is alive and well, and has nothing to with your idea of the sharing economy.

25. Chinese truckers plying their trade along the silk road deserve to be immortalised as the the frontiersmen of our generation. (They are always male.)

29. The most interesting places have map coordinates, but no names.

30. There are are number of companies with a competitive smartphone portfolio. The rise of Oppo can be explained by its presence on every block of 3rd, 4th, 5th and 6th tier Chinese cities.

32. People wearing fake Supreme are way more interesting than those that wear the real deal.

33. An iPhone box full of fungus caterpillar in Kham Tibet sold wholesale, is worth more than a fully specced iPhone. It’s worth 10x at retail in 1st/2nd Tier China. It is a better aphrodisiac too.

35. One of the more interesting aspects of very high net worth individuals (the financial 0.001%), is the entourage that they attract, and the interrelations between members of that entourage. This is my first time travelling with a spiritual leader (the religious 0.001%), whose entourage included disciples, and members of the financial 0.01% looking for a karmic handout. The behaviour of silicon valley’s nouveau riche is often parodied but when it comes to weirdness, faith trumps money every time. Any bets on the first Silicon Valley billionaire to successfully marry the two? Or vice versa?

37. For every person that longs for nature, there are two that long for man-made.

38. Tibetan monks prefer iOS over Android.

40. In order to size up the tribe/sub-tribe you’re part of, any group of young males will first look at the shoes on your feet.

42. After the Urumqi riots in 2009 the Chinese government cut of internet connectivity to Xinjiang province for a full year. Today connectivity is so prevalent and integrated into every aspect of Xinjiang society, that cutting it off it would hurt the state’s ability to control the population more than hinder their opposition. There are many parts to the current state strategy is to limit subversion, the most visible of which is access to the means of travel. For example every gas station between Kashi and Urumqi has barbed wire barriers at its gates, and someone checking IDs.

43. TV used to be the primary way for the edge-of-grid have-nots to discover what they want to have. Today it is seeing geotagged images from nearby places, sometimes hundreds of kilometres away.

44. Facebook entering China would be a Pyrrhic victory, that would lead to greater scrutiny and regulation worldwide. Go for it.

45. The sooner western companies own up to copying WeChat, the sooner we can get on with acknowledging a significant shift in the global creative center of gravity.

48. Green tea beats black tea for acclimatising to altitude sickness.

49. The most interesting destinations aren’t geotagged, are not easily geo-taggable. Bonus points if you can figure that one out.

50. The first time you confront a leader, never do it in front of their followers, they’ll have no way to back down.

51. There is more certainty in reselling the past, than inventing the future.

55. Pockets of Chengdu are starting to out-cool Tokyo.

56. To what extent does cultural continuity, and societal harmony comes from three generations under one roof?

58. If you want to understand where a country is heading pick a 2nd or 3rd tier city and revisit it over many years. Chengdu remains my bellwether 2nd tier Chinese city. It’s inland, has a strong local identity and sub-cultures, and has room to grow. Bonus: its’ only a few hours from some of the best mountain ranges in the world.

60. The difference between 2.5G and 3G? In the words of a smartphone wielding GBAO teenager on the day 3G data was switched on her town, “I can breathe”."]]></description>
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    <title>These photos are why I’m trapped in Tokyo forever now — Medium</title>
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    <title>Martin Roemers - Metropolis | LensCulture</title>
    <dc:date>2015-11-25T02:06:08+00:00</dc:date>
    <link>https://www.lensculture.com/articles/martin-roemers-metropolis#slide-1</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Dutch photographer Martin Roemers won the 1st prize in the LensCulture Street Photography Awards 2015 for his series, Metropolis, which documents street life in "mega-cities", defined as urban areas that are home to more than 10 million inhabitants. Here we present an extended slideshow of this project, as well as an interview with the photographer."

[via: http://globalvoices.tumblr.com/post/133898896954/archatlas-metropolis-martin-roemers ]]]></description>
<dc:subject>martinroemers photography streetphotography 2015 cities urban urbanism global kolkata lagos pakistan bangladesh cairo nigeria egypt karachi dhaka mumbai india guangzhou china istanbul turkey jakarta indonesia buenosaires argentina manila philippines basil brazil riodejaneiro mexicocity mexicodf mexico nyc sãopaulo london tokyo japan df calcutta türkiye</dc:subject>
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<item rdf:about="http://www.spoon-tamago.com/2015/11/02/kenya-hara-unveils-2020-tokyo-olympics-logo-proposal/">
    <title>Kenya Hara Unveils Rejected 2020 Tokyo Olympics Logo Proposal | Spoon &amp; Tamago</title>
    <dc:date>2015-11-03T06:40:59+00:00</dc:date>
    <link>http://www.spoon-tamago.com/2015/11/02/kenya-hara-unveils-2020-tokyo-olympics-logo-proposal/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In September the Tokyo 2020 Olympics Committee announced that they would scrap Kenjiro Sano’s logo amid plagiarism claims and redo the entire process. But when they did that they also effectively scrapped the other 103 proposals, each created by professionals who spent a decent amount of time and resources perfecting their concept.

Now, renowned designer and one of the foremost faces of Japanese design, Kenya Hara, is speaking out. And in doing so, he has released his proposal from the Hara Design Institute.

“Removing the curtain from the design competition will help graphic design become more widely understood,” says Kenya Hara, explaining why he decided to publish his team’s propals. “It will serve as a valuable resource in contemplating our future Olympics logo.” He notes that the Olympics symbol and “Tokyo 2020” have been obscured so as to avoid any copyright claims.

Hara’s proposal is one that symbolizes “our planet making great strides,” “a beating heart” and the “summit.” The two planetary logos reference the sun, the moon and an arena where humans can transcend any bickering and come together for the great games.

In today’s world of design planning it’s no longer sufficient to simply come up with a beautiful logo. Various applications and forms of communication must also be considered. And in that sense, Hara’s design team has created a remarkable proposal that adaptable to various needs.

But in a surprising and rather confounding decision, the Olympics committee has opened up the new round of proposals to the public, allowing anyone over 18 to submit their idea. They’re accepting entries through December 7, 2015. The competition will undoubtedly bulge into a marathon with thousands of runners. We stand with designer Kenya Hara in hopes that this next race, whatever it turns out to be, is more transparent."]]></description>
<dc:subject>kenyahara design graphicdesign logos olympics via:tealtan graphics japan tokyo 2020</dc:subject>
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<item rdf:about="http://www.nytimes.com/interactive/2015/09/23/magazine/the-voyages-issue.html">
    <title>The Voyages Issue: Six Photographers on Their Dream Journeys - The New York Times</title>
    <dc:date>2015-09-24T14:30:35+00:00</dc:date>
    <link>http://www.nytimes.com/interactive/2015/09/23/magazine/the-voyages-issue.html</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>photography nigeria blacksea tokyo japan venezuela istanbul turkey italy italia 2015 tejucole glennagordon georgegeorgiou alecsoth georgesteinmetz biekedepoorter hiroshisugimoto türkiye</dc:subject>
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<item rdf:about="http://www.psfk.com/2015/09/tokyo-bookstore-morioka-shoten-ginza-tokyo.html">
    <title>Tokyo Bookstore Only Stocks One Title at a Time</title>
    <dc:date>2015-09-15T03:35:16+00:00</dc:date>
    <link>http://www.psfk.com/2015/09/tokyo-bookstore-morioka-shoten-ginza-tokyo.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Morioka Shoten in Ginza features a new solitary book every week, accompanied by related artworks and items

A new bookstore opened earlier this year in Ginza, Tokyo that takes the unique approach of only stocking one title at a time. A different book is featured every week at Morioka Shoten and it is accompanied by related items such as artworks and photographs.

This concept sets the store apart from others, offering a curated approach that combats decision fatigue and makes browsing a lot quicker by recommending a single title for customers to purchase and read.

The bookstore’s owner, Yoshiyuki Morioka, came up with the idea after organizing a series of popular readings and book signings for single publications at his other, traditional bookstore. He was inspired to open a dedicated space where a single book could take center stage. The second branch of Morioka Shoten was created by design and engineering firm Takram, who led the graphic design and copy writing for the Ginza store’s visual identity.

The book of the week is displayed on a table in the small boutique, along with Morioka’s personal work desk and a vintage chest of drawers that is used as the store’s counter. The minimalistic aesthetic of the space matches perfectly with its concept. There are no other items of furniture, and the concrete walls and ceiling are coated with white paint, while the concrete floor has been left bare.

Pieces of art that relate to the currently spotlighted book are displayed around the store for customers to enjoy, for example, ceramic jewellery and objects by Mayumi Kogoma were on show because they were inspired by Kenji Miyazawa’s novel Porano no hiroba."

[See also: http://www.takram.com/morioka-shoten-ginza-branch/ 

"Morioka Shoten Ginza Branch

takram worked on graphic design and copy writing for visual image of ‘Morioka Shoten Ginza Branch’

On May 5th, ‘Morioka Shoten Ginza Branch’ has opened in Ginza, Tokyo. With the concept of ‘a bookstore with a single book,’ the store is a second branch store for ‘Morioka Shoten.’ takram led the graphic design and copy writing for the new store’s visual identity."]]></description>
<dc:subject>books bookstores booksellers publishing retail noticings 2015 yoshiyukimorioka moriokashoten curation tokyo japan ginza decisionmaking minimalism audiencesofone</dc:subject>
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<item rdf:about="http://www.dezeen.com/2015/05/05/hiroki-tominaga-atelier-shitomito-deconstructed-pallets-tokyo-office-planks-timber/">
    <title>Hiroki Tominaga Atelier use old pallets for Tokyo office</title>
    <dc:date>2015-05-19T21:43:22+00:00</dc:date>
    <link>http://www.dezeen.com/2015/05/05/hiroki-tominaga-atelier-shitomito-deconstructed-pallets-tokyo-office-planks-timber/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>pallets wood hirokitominaga tokyo japan design architecture 2015 interiors furniture</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://www.ted.com/talks/takaharu_tezuka_the_best_kindergarten_you_ve_ever_seen">
    <title>Takaharu Tezuka: The best kindergarten you’ve ever seen | Talk Video | TED.com</title>
    <dc:date>2015-04-15T18:35:45+00:00</dc:date>
    <link>http://www.ted.com/talks/takaharu_tezuka_the_best_kindergarten_you_ve_ever_seen</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["At this school in Tokyo, five-year-olds cause traffic jams and windows are for Santa to climb into. Meet: the world's cutest kindergarten, designed by architect Takaharu Tezuka. In this charming talk, he walks us through a design process that really lets kids be kids."]]></description>
<dc:subject>takaharutezuka architecture 2007 schooldesign design kindergarten japan tokyo schools education children tezukaarchitects fujikindergarten</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b3eca51cafcf/</dc:identifier>
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<item rdf:about="http://grid.vsco.co/journal/lee-basford-vsco-film">
    <title>Minato-ku Bicycle Recycling Department | VSCO GRID | VSCO Journal™</title>
    <dc:date>2015-01-15T09:30:03+00:00</dc:date>
    <link>http://grid.vsco.co/journal/lee-basford-vsco-film</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Lee Basford is a graphic designer, artist, and photographer who in the past year has experienced monumental changes, including a move from England to Tokyo, Japan, to marry his sweetheart. Before relocating, Lee worked as an art director and designer at Fluid. Now, working independently under the studio name Humankind, Lee is currently designing and art directing for clients globally. He also recently began writing and photographing for Papersky magazine in Japan and Nowhere Fast, an online bicycle magazine, in England. With an extensive portfolio under his belt, including work done for companies such as Sony, UNIQLO, Nike, Capcom, EMI, and Sega, Lee has had the honor of seeing his work featured in numerous books and design journals.

Lee’s latest article for Nowhere Fast highlighted a bicycle recycling shop in Tokyo, Japan. “If you lock your bike in the wrong place for too long in any Japanese city, you are probably going to get a ticket slapped on it, informing you that it will be removed at a later date. For the unfortunate, once they’re taken, any unclaimed bicycles will only be kept for a limited time before being recycled or worse, destroyed. About 85% of Japanese own bikes; so there’s a lot of them around and a constant supply for the bike police.”

Referred by a friend, Lee went to the Minato-ku Bicycle Recycling Department in search of an economically priced bicycle for his own daily use. Comprised of a team of three bike lovers and led by Tomita-san, who started the project 14 years ago, this small but highly resourceful shop has recycled over 4,000 bikes to date. These men take pride in the fact that they never buy anything new, using only recycled parts to keep their program self-sufficient. With two rooms stacked and sorted in every direction with seat posts, saddles, wheels, frames, brake cables, and more, no space is left unused in this small workspace. Tools are organized neatly and efficiently, and tiny parts are meticulously placed in containers and buckets. Working hard to strip down and rebuild bikes, the team pieces together around 100 bikes each month that are then sold at a discounted price on the second Sunday of every month. To read more about the project, check out Lee’s complete article.

All of images below were processed using VSCO Film®. View more of Lee's photography on his VSCO Grid™."]]></description>
<dc:subject>bikes biking tokyo japan repait vsco photography 2013 leebasford recycling</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c7cfea7bfd25/</dc:identifier>
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<item rdf:about="http://yamanote.tumblr.com/">
    <title>Yamanote Eki-Melo</title>
    <dc:date>2015-01-09T21:17:52+00:00</dc:date>
    <link>http://yamanote.tumblr.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Yamanote Line is the most famous and well-travelled train line in Tokyo. Each station on the Yamanote plays a song (eki-melo, "train melody", 発車メロディ or "hassha melody") when trains are about to depart, differing by platform, direction and station. 

Click any post to listen to that station's eki-melo!"

[via: https://twitter.com/debcha/status/553661667439935488 ]]]></description>
<dc:subject>japan sounds sound trains chimes yamanote eki-melo tokyo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:389167cc7867/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sound"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:chimes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:yamanote"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:eki-melo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tokyo"/>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=_33vEcQkAT8">
    <title>▶ Wenders meets Chris Marker in Tokio, 1983 - YouTube</title>
    <dc:date>2014-08-26T22:47:07+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=_33vEcQkAT8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: https://twitter.com/somebadideas/status/504398416282001409 ]]]></description>
<dc:subject>chrismarker wimwenders 1983 tokyo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6665928d6e50/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wimwenders"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1983"/>
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</item>
<item rdf:about="https://medium.com/re-form/where-roads-collide-2da8d09d3458">
    <title>Where Roads Collide — re:form — Medium</title>
    <dc:date>2014-07-29T18:08:25+00:00</dc:date>
    <link>https://medium.com/re-form/where-roads-collide-2da8d09d3458</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Like an organic art form growing from commuter demands, local politics, and the brains of engineering teams, traffic interchanges are mesmerizing in their complexity. With more than half the world’s population now living in urban areas, car use is growing in countries once dominated by bicycles, motorbikes, and overcrowded buses.

Here’s a look at the good, the bad and the bizarre of global traffic management."]]></description>
<dc:subject>freeways transportation cars losangeles milwaukee dallas buenosaires hongkong bangkok tokyo shanghai</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2d57a782abce/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cars"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:losangeles"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:milwaukee"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:buenosaires"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tokyo"/>
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</item>
<item rdf:about="http://bookletlibrary.org/">
    <title>BOOKLET LIBRARY - By Cover</title>
    <dc:date>2014-05-21T03:04:50+00:00</dc:date>
    <link>http://bookletlibrary.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["These are titles available at Booklet Library.

Booklet Library is shaped by the authors, artists, and publishers who contribute their work. Our interest is in the support, provision, and promotion of a more fair cross-section of independent publications, and of (visual) difference in Tokyo. 

Booklet Library is available to the public at

3-15-3 Yoyogi
Shibuya , Tokyo 
〒151-0053"]]></description>
<dc:subject>art artbooks books design tokyo japan via:soulellis booklets srg artistsbooks</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:29e321b9b8c9/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tokyo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:japan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:soulellis"/>
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</item>
<item rdf:about="http://www.youtube.com/yt/space/los-angeles.html">
    <title>YouTube Space Los Angeles - YouTube</title>
    <dc:date>2014-03-20T18:18:55+00:00</dc:date>
    <link>http://www.youtube.com/yt/space/los-angeles.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The flagship location for YouTube Space is designed especially for creators to produce video content, learn new skills, and collaborate with the YouTube creative community."

"Nonprofits: Calling all nonprofits! Produce your next video campaign at YouTube Space LA. Eligible organizations may apply to shoot and edit using Space resources.

Collaboration days: Work with at least one other channel to submit a script or treatment for a collaboration video and earn cash to use towards your production. Offered the last week of every month.

Residencies: For creators with an ambitious project, but without the resources to execute it. Propose an innovative production idea to earn large-stage and set construction resources."

[spaces also in London, Tokyo, NYC]

[via: http://www.thenerdyteacher.com/2014/03/if-i-had-sledgehammer-thoughts-on.html ]]]></description>
<dc:subject>losangeles youtube videoproduction lcproject nyc london tokyo openstudioproject youtubespace residencies</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:87745a790320/</dc:identifier>
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</item>
<item rdf:about="http://www.nytimes.com/2012/03/11/travel/thin-places-where-we-are-jolted-out-of-old-ways-of-seeing-the-world.html?pagewanted=all">
    <title>Thin Places, Where We Are Jolted Out of Old Ways of Seeing the World - NYTimes.com</title>
    <dc:date>2013-12-10T18:22:55+00:00</dc:date>
    <link>http://www.nytimes.com/2012/03/11/travel/thin-places-where-we-are-jolted-out-of-old-ways-of-seeing-the-world.html?pagewanted=all</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["TRAVEL, like life, is best understood backward but must be experienced forward, to paraphrase Kierkegaard. After decades of wandering, only now does a pattern emerge. I’m drawn to places that beguile and inspire, sedate and stir, places where, for a few blissful moments I loosen my death grip on life, and can breathe again. It turns out these destinations have a name: thin places.

It is, admittedly, an odd term. One could be forgiven for thinking that thin places describe skinny nations (see Chile) or perhaps cities populated by thin people (see Los Angeles). No, thin places are much deeper than that. They are locales where the distance between heaven and earth collapses and we’re able to catch glimpses of the divine, or the transcendent or, as I like to think of it, the Infinite Whatever.

Travel to thin places does not necessarily lead to anything as grandiose as a “spiritual breakthrough,” whatever that means, but it does disorient. It confuses. We lose our bearings, and find new ones. Or not. Either way, we are jolted out of old ways of seeing the world, and therein lies the transformative magic of travel.

It’s not clear who first uttered the term “thin places,” but they almost certainly spoke with an Irish brogue. The ancient pagan Celts, and later, Christians, used the term to describe mesmerizing places like the wind-swept isle of Iona (now part of Scotland) or the rocky peaks of Croagh Patrick. Heaven and earth, the Celtic saying goes, are only three feet apart, but in thin places that distance is even shorter.

So what exactly makes a place thin? It’s easier to say what a thin place is not. A thin place is not necessarily a tranquil place, or a fun one, or even a beautiful one, though it may be all of those things too. Disney World is not a thin place. Nor is Cancún. Thin places relax us, yes, but they also transform us — or, more accurately, unmask us. In thin places, we become our more essential selves."

…

"Mircea Eliade, the religious scholar, would understand what I experienced in that Tokyo bar. Writing in his classic work “The Sacred and the Profane,” he observed that “some parts of space are qualitatively different from others.” An Apache proverb takes that idea a step further: “Wisdom sits in places.”

The question, of course, is which places? And how do we get there? You don’t plan a trip to a thin place; you stumble upon one. But there are steps you can take to increase the odds of an encounter with thinness. For starters, have no expectations. Nothing gets in the way of a genuine experience more than expectations, which explains why so many “spiritual journeys” disappoint. And don’t count on guidebooks — or even friends — to pinpoint your thin places. To some extent, thinness, like beauty, is in the eye of the beholder. Or, to put it another way: One person’s thin place is another’s thick one."

…

"Many thin places are wild, untamed, but cities can also be surprisingly thin. The world’s first urban centers, in Mesopotamia, were erected not as places of commerce or empire but, rather, so inhabitants could consort with the gods. What better place to marvel at the glory of God and his handiwork (via his subcontractors: us) than on the Bund in Shanghai, with the Jetsons-like skyscrapers towering above, or at Montmartre in Paris, with the city’s Gothic glory revealed below.

Bookstores are thin places, too, and, for me, none is thinner than Powell’s in Portland, Ore. Sure, there are grander bookstores, and older ones, but none quite possesses Powell’s mix of order and serendipity, especially in its used-book collection — Chekhov happily cohabitating with “Personal Finance for Dummies,” Balzac snuggling with Grisham.

Yet, ultimately, an inherent contradiction trips up any spiritual walkabout: The divine supposedly transcends time and space, yet we seek it in very specific places and at very specific times. If God (however defined) is everywhere and “everywhen,” as the Australian aboriginals put it so wonderfully, then why are some places thin and others not? Why isn’t the whole world thin?

Maybe it is but we’re too thick to recognize it. Maybe thin places offer glimpses not of heaven but of earth as it really is, unencumbered. Unmasked."

[See also (via litherland) http://jarrettfuller.tumblr.com/post/62312770603/making-thin-places-and-in-between-spaces ]]]></description>
<dc:subject>thinplaces buddhism spirituality travel 2012 ericweiner place cathedrals churches nature newdelhi jerusalem rumi turkey nepal boudhanath katmandu shanghai paris montmartre powell's portland oregon bookstores divine god nyc istanbul kongkong airports tokyo japan türkiye</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:dccff88257f4/</dc:identifier>
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</item>
<item rdf:about="http://www.materialconnexion.com/">
    <title>Material ConneXion</title>
    <dc:date>2013-12-05T20:08:35+00:00</dc:date>
    <link>http://www.materialconnexion.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>materials architecture database design reference nyc bangkok beijing cologne daegu istanbul milan seoul shanghai skövde tokyo turkey türkiye</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a0e17128d861/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:database"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:istanbul"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:milan"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:turkey"/>
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</item>
<item rdf:about="http://es.slideshare.net/asmalllab/i-am-makingkindergartenweb">
    <title>なにをつくってる？ | what am I making, what are we making?</title>
    <dc:date>2013-11-20T01:53:15+00:00</dc:date>
    <link>http://es.slideshare.net/asmalllab/i-am-makingkindergartenweb</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Document of play at a suburban Tokyo kindergarten. ..."]]></description>
<dc:subject>play documentation reggioemilia tokyo japan kindergarten 2013 chrisberthelsen children learning making</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:945199e41c8f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:play"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reggioemilia"/>
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</item>
<item rdf:about="http://www.yatzer.com/torafu-haunted-house-mot">
    <title>TORAFU's Haunted Play House At The Museum Of Contemporary Art In Tokyo | Yatzer</title>
    <dc:date>2013-08-16T05:51:34+00:00</dc:date>
    <link>http://www.yatzer.com/torafu-haunted-house-mot</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Some projects are so engaging and fun that you wish you could be a child again. The Museum of Contemporary Art in Tokyo is staging a summer exhibition for children entitled GHOSTS, UNDERPANTS and STARS and Torafu Architects (Koichi Suzuno, Shinya Kamuro) have created the most stunning and imaginative Haunted House ever."

[See also: http://torafu.com/ ]]]></description>
<dc:subject>ncmideas art children hauntedhouse museums torafuarchitects tokyo glvo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:995976b5a133/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://pulse.media.mit.edu/">
    <title>Place Pulse | Mapping Urban Perception</title>
    <dc:date>2013-07-26T04:15:05+00:00</dc:date>
    <link>http://pulse.media.mit.edu/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Place Pulse aims to quantitatively recognize which areas of a city are perceived as wealthy, modern, safe, lively, active, unique, central, adaptable or family friendly. 

With enough user participation, Place Pulse can identify which neighborhoods in Bangkok are perceived better than neighborhoods in New York City or to examine how the distribution of a certain perception in Mexico City compares with that same perception in Tokyo. 

For curious researchers, the Place Pulse dataset can even be used to study the association between urban perception and other datasets, such as violent crime, creativity or economic growth."]]></description>
<dc:subject>maps mapping urbanism architecture crowdsourcing data research cities place placepulse césarhidalgo deepakjagdish danielsmilkov tokyo nyc mexicocity mexicodf bankok streetview googlesteetview df googlestreetview</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7c633291d4e6/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
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<item rdf:about="http://nextcity.org/informalcity/entry/when-tokyo-was-a-slum">
    <title>When Tokyo Was a Slum – The Informal City Dialogues</title>
    <dc:date>2013-07-15T17:21:44+00:00</dc:date>
    <link>http://nextcity.org/informalcity/entry/when-tokyo-was-a-slum</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Alongside the futuristic visage of skyscraper Tokyo, a human-scale city lies along rambling roads, where mom-and-pop stores sell soap and sandals, and private homes double as independent shops engaged in local trades like printmaking and woodworking.

This is incremental Tokyo, the foundation upon which the world’s most modern city is built.

Like much of the city, these small hamlets were smoldering ash pits 70 years ago, reduced to rubble by the bombs of Allied forces during World War II. When the war ended, Tokyo’s municipal government, bankrupt and in crisis mode, was in no condition to launch a citywide reconstruction effort. So, without ever stating it explicitly, it nevertheless made one thing clear: The citizens would rebuild the city. Government would provide the infrastructure, but beyond that, the residents would be free to build what they needed on the footprint of the city that once was, neighborhood by neighborhood."

…

"These mixed-use habitats and low-rise, high-density neighborhoods emerged by default, not design. But though the city didn’t plan them, it considered them legitimate and supported them. Sewage systems, water, electricity and roads were later infused into all parts of Tokyo, leaving no neighborhood behind, regardless of how slummy or messy it looked. Even the traditionally discriminated-against Burakumin areas were eventually provided access to state-of-the-art public services and amenities.

The notion that infrastructure must be adapted to the built environment, rather than the other way around, is a simple yet revolutionary idea. The Tokyo model, combining housing development by local actors and infrastructure from various agencies, explains why that city has some of the best infrastructure in the world today, not to mention a housing stock of great variety and bustling mixed-use neighborhoods.

The House Is a Tool

The relationship between the city’s urban form and its vibrant economy is best illustrated by the idea of homes as tools of production. Many of the houses built in the postwar period in Tokyo were based on the template of the traditional Japanese house, in which a single structure can serve as a shop, workshop, dormitory or family house — and possibly all of those things at once. Official statistics illustrate the scale of the home-based economy. As late as the 1970s, factories employing fewer than 20 employees accounted for 20 percent of the workers and 12.6 percent of the national output in Japan. In Tokyo alone, 99.5 percent of factories had fewer than 300 workers and employed 74 percent of all factory workers, according to economist Takeshi Hayashi. What these numbers tell us is that the Japanese miracle was built not only by large-scale factories, but also relied on a vast web of small producers that often worked from their neighborhoods and their homes."

…

"For the people who live in Dharavi, this is not only the best possible outcome, it’s their only option. Most residents of Dharavi cannot possibly afford to move to other parts of Mumbai. Their futures will rise or fall with the fate of their neighborhood, which is why the Tokyo model, which values and cultivates neighborhoods like theirs, is probably their best hope for economic and social advancement.

That prosperity, however, depends on the local authorities heeding the lessons of Tokyo. Neighborhoods like Dharavi are already served by various NGOs and foundations. The residents are doing their part. The only missing piece is the support of city authorities, whose attitude toward such settlements sets back the city of Mumbai as a whole.

What’s more, the Tokyo model is simply an elegant one that follows the path of least resistance, allowing order and mess to naturally combine as they would without top-down intervention. It’s hard to imagine a better example of “development” in its most holistic dimension: Houses, neighborhoods, economies and communities all rising in concert with one another. The environment is deeply connected to processes of collective growth, because people, objects and lived spaces are all knit together by the impulse to constantly improve and transform. Through this process, with very little capital, we see how user-generated neighborhoods invest in the idea of growth and mobility, where self-interest and successful urbanism are one and the same."

[Tagging this with Teddy Cruz because it reminds me of his study of Tijuana and his recommendation that we learn from patterns of growth and development there.]]]></description>
<dc:subject>postwar mixeduse lowrise density mimbai takeshihayashi cities organic organicism home-basedeconomy production manufacturing factories openstudioproject cafes homeoffice homefactory homeworkshop homes infrastructure redevelopment development dharavi slums mobility economics middleclass collectivism technology neighborhoods asia informality informal cottageindustries 2013 urban urbanism growth change government tokyo japan history</dc:subject>
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<item rdf:about="http://pingmag.jp/2013/04/22/bandb/">
    <title>B&amp;B: Good drinks and good reads in Shimokitazawa | PingMag : Art, Design, Life – from Japan</title>
    <dc:date>2013-04-23T00:37:01+00:00</dc:date>
    <link>http://pingmag.jp/2013/04/22/bandb/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Wayback: https://web.archive.org/web/20151028003033/http://pingmag.jp/2013/04/22/bandb/ ]

"Times are changing for publishing. E-books are here to stay and publishers are trying out a range of digital strategies to entice new customers. The music industry was one step ahead and the large retailers like Tower Records and HMV have all felt the pain of declining business, replaced by iTunes and Amazon. Bookstores are likewise looking at an uncertain future.

Well, one answer to how bookstores can continue to bring in readers to shop may lie in a new type of bookseller that has opened in Shimokitazawa, the laid-back Tokyo neighborhood just west of Shibuya.

The formula is visible in the name: B&B. British readers might be forgiven for thinking the shop is actually a cheap form of accommodation (bed and breakfast), but the two b’s are even better than that — “Book & Beer”, two things we at PingMag certainly love. Having coffee and tea for sale in bookstores has been the norm in other parts of the world for years now, but B&B has opted for a more alcoholic version. There is a proper bar with beer on tap, meaning customers can browse while sipping a chilled bevy or read a purchase with a beer in hand.

But this isn’t just about drinking (there are countless bars in Shimokitazawa, after all!). The books are also highly curated, selected per theme and genre by the staff to match the concept of the store. In other words, the entire place is like a magazine.

We sat down with B&B owner Shintaro Uchinuma to chat about the Shimokita’s latest hangout."]]></description>
<dc:subject>bookstores books cafes 2013 pingmag tokyo japan openstudioproject booksellers shimokitazawa bookshops retail bookfuturism b&amp;b publishing ebooks</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:262cbb50b6e6/</dc:identifier>
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</item>
<item rdf:about="http://non-intentional-landscape.a-small-lab.com/post/40468815076/the-individual-defines-the-large-scale-a-city-of">
    <title>The individual defines the large scale. A city of parts. - Non-Intentional Landscape</title>
    <dc:date>2013-01-15T08:54:53+00:00</dc:date>
    <link>http://non-intentional-landscape.a-small-lab.com/post/40468815076/the-individual-defines-the-large-scale-a-city-of</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The individual defines the large scale[36]. A city of parts[37]. And depending on your viewpoint each entity has the characteristics of a “whole” as well as a “part”[38]. One does not live beside, but within the Tokyo landscape of gardens, a place of growth, of maximized spontaneity[39]. The individual action of gardening is personal and deliberate – a form of use-related behaviour which addresses human(e) needs through an act of creation which is not deliberately designed (‘professional’) landscape architecture/art[40] [41].

Paralleling the no-center development of Edo, everyday Tokyo takes shape as an accumulation of the activities of individuals or groups making the most of the individuality of distinct place [42] but with a horizontal solidarity that (unlike the all encompassing city visions of Europe) forms (in amorphous aggregate) Tokyo’s non-intentional landscape of not only flowers, green and edibles but memories and meanings, traditions and social norms, relationships and support (this idea is a social psychological extension of the notion of city making as landscaping present in the Edo period[43]). The living urban fabric is maintained by an enormous number of daily small-scale interventions that are an essential part of the process of organic repair[44]."]]></description>
<dc:subject>cities urban urbanism chaos messiness complexity japan tokyo organisms 2013 chrisberthelsen yoshinobuashihara scale parts landscape architecture landscapearchitecture</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9a1e76b8b49e/</dc:identifier>
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</item>
<item rdf:about="http://www.spoon-tamago.com/2012/12/19/the-zero-yen-house-kyohei-sakaguchi/">
    <title>The Zero Yen House and other unimaginable habitats of Kyohei Sakaguchi | Spoon &amp; Tamago</title>
    <dc:date>2013-01-08T12:53:27+00:00</dc:date>
    <link>http://www.spoon-tamago.com/2012/12/19/the-zero-yen-house-kyohei-sakaguchi/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As an architecture student at Waseda University in the late 90s Kyohei Sakaguchi encountered a structure that would forever shape his future career. It wasn’t Oscar Niemeyer’s Brazilian National Museum, nor was it Le Corbusier’s Unité d’Habitation. Not even Kisho Kurokawa’s Nakagin Capsule Tower. It was a home built on a budget of zero yen on the bed of Tokyo’s Sumida River. …"]]></description>
<dc:subject>neo-nomads nomads 2012 homeless lowcost housing houses zeroyenhouse tokyo japan design architecture kyoheisakaguchi</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e1943b0e4e2a/</dc:identifier>
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<item rdf:about="http://www.theatlantic.com/health/archive/2012/10/mapping-the-worlds-most-seductive-shrines-to-coffee/263194/">
    <title>Mapping the World's Most Seductive Shrines to Coffee - Claire Cottrell - The Atlantic</title>
    <dc:date>2012-10-05T12:47:39+00:00</dc:date>
    <link>http://www.theatlantic.com/health/archive/2012/10/mapping-the-worlds-most-seductive-shrines-to-coffee/263194/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We've rounded up some of the most beautiful purveyors of coffee around the world in virtual guide form, meaning not only have we included the eye candy you know and love, but we've also added addresses and handy links to Google Maps."

[Little Nap Coffee Stand - Tokyo, Japan]]]></description>
<dc:subject>2012 toronto switzerland basel porto portugal silverlake hungary busapest brooklyn bluebottlecoffee sanfrancisco oregon portland tokyo sweden denmark telaviv paris poland nyc losangeles us japan architecture design intreriors openstudioproject glvo srg coffee cafes</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6988fca67fbc/</dc:identifier>
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</item>
<item rdf:about="http://www.architecturetoday.co.uk/?p=23978">
    <title>My Kind of Town: P.D. Smith | Architecture Today</title>
    <dc:date>2012-08-02T05:02:38+00:00</dc:date>
    <link>http://www.architecturetoday.co.uk/?p=23978</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[" I like cities in which you can travel through time."]]></description>
<dc:subject>bighere bloomsbury nyc tokyo rome london 2012 history urbanism urban atemporality cities pdsmith</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2cf840a3553d/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bighere"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bloomsbury"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nyc"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tokyo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rome"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:london"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:atemporality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pdsmith"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://pinboard.in/u:jannon/t:tokyo">
    <title>Pinboard: bookmarks for jannon tagged 'tokyo'</title>
    <dc:date>2012-07-31T07:03:52+00:00</dc:date>
    <link>http://pinboard.in/u:jannon/t:tokyo</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[For future reference, 'jannon' has a nice collection of Tokyo references.]]]></description>
<dc:subject>tokyo bookmarks japan</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8c869f6b2c12/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tokyo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bookmarks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:japan"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://hellosandwich.blogspot.com/2010/02/nakameguro.html">
    <title>hello sandwich: Nakameguro</title>
    <dc:date>2012-07-23T14:08:28+00:00</dc:date>
    <link>http://hellosandwich.blogspot.com/2010/02/nakameguro.html</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>tokyo neighborhoods trip.ideas via:jannon</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9ab6793a3610/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tokyo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:neighborhoods"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:trip.ideas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:jannon"/>
</rdf:Bag></taxo:topics>
</item>
</rdf:RDF>