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During onbashira, we explored some interesting places in Suwa and learned a little about its history. Next to one of the shrines is an Edo-era shop selling a salty type of shio yokan. In a country that often eliminates its past, it is amazing to see a small business that preserves traditions. We also visited an Edo era guest house, which still retains a beautiful small garden in a property that shrunk over the generations.

Suwa’s famed lake is stunning. We saw many types of birds, including tonbi (black kite) and ducks.

The town is also known for its hot springs. We saw this early 20th century building which served the silk factory workers and was known for its “stand-up onsen.” Apparently there were too many bathers for them to sit or lie down in the hot water pools.

Tour of Suwa continues after the jump

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Newsweek Japan に私の書評が出ました。「江戸時代に学ぶエコライフ」

Newsweek Japan published in Japanese my book review of Azby Brown’s Just Enough. Please see my review in the Huffington Post for a (slightly longer) English version.

Recently I heard Mishima Yoshiki present a paper about the revival of the Kyobashi river in central Tokyo. Like most of Tokyo’s legendary rivers and canals, it has long been buried underground, when the Edo tradition of water transportation gave way to twentieth century freeways for private autos and commercial trucks.

Mishima’s paper was presented at the Tokyo University’s Asia Mega-Cities symposium in a session devoted to urban rivers. His paper was co-authored with Hayashi Masaki, Shikanai Kyoko, and Ishikawa Mikiko. Mishima is a PhD candidate at Todai’s graduate school of engineering, and a landscape architect trained at the Harvard Graduate School of Design.

Many landscape architects and urban historians point to the centrality of water in Tokyo’s history, and there is a growing desire to see its renewal in our post-industrial era. Mishima’s talk highlighted the Edo functions of the Kyobashi river, the history of its “reclamation” or burial, and the opportunities to remake it today.

Mishima’s project team chose the Kyobashi river because it is in central Tokyo and it is relatively short, with a history of connecting the Edo castle to the ocean. The paper introduced the concept of the kashi, a riverside commons that served as a place for unloading goods and commercial markets and where no private structures were allowed to be created. Today it has exceptional potential because it represents a mere 600 meters of the 320 kilometer Tokyo Expressway system, and is used by only 4,000 of the 53,000 daily expressway vehicles. Plus, its central location offers enormous potential as public open space and high rent commercial space.

Mishima explained how the Kyobashi river, like most of Tokyo’s waterways, became devalued and ultimately buried in the twentieth century when natural and human disasters overwhelmed the city. The 1923 Kanto Earthquake destroyed the kashi, and many private buildings were constructed. River commerce had already declined, and increasing garbage raised sanitation problems. The firebombing of Tokyo during World War II left huge piles of ashes along the river banks, making open space again a place for waste.

The post-war period saw some bizarrely futuristic plans. The 1950 “Sky Building Plan” envisioned building twelve story buildings above the old river, with an expressway running through the second floor. I am curious why this plan was ultimately rejected. In its stead, the city built a series of elevated freeways, mostly public and some privately owned, with several including the Kyobashi river having commercial tenants on the ground floor.

I enjoyed seeing the model of the renewal of the Kyobashi river. Using rainwater, treated sewage, and springs, there were would be plenty of water to support the new river. Water is constantly being pumped out from the subway tunnels (this happens in New York City as well, which I learned in the fantastic book The World without Us by Alan Weisman).

The Kyobashi river concept combines commercial development with the creation of a huge new green corridor. Some buildings would be placed on the new river, as a way to generate revenue for the construction and maintenance of the new public spaces. Green roofs would integrate the new buildings with the park. People would have access to the river on bridges, plazas, water decks, and recreational boats. It would be great to also see a river edge that combined some elements of natural riverbank vegetation and habitat.

Several factors make the idea of this project at least conceivable. One, the Kyobashi river area is small and borders high rent Ginza. Second, the elevated freeway, like most of Tokyo’s expressways, was built in the rush to “modernize” before the 1964 Tokyo Olympics. Therefore, they do not meet current earthquake standards, and the city currently faces a choice between expensive retrofitting or potential collapse. (The earthquake damage to San Francisco’s Embarcadero freeway in 1989 provided the impetus for freeway removal and opening the bay to the city in the early 2000s, which has been a huge success). Lastly, the low rent payed by the private company suggests that the Tokyo Metropolitan Government and its residents receive minimal compensation in exchange for the environmental costs of the freeway.

I recently read Azby Brown’s book, Just Enough: Lessons in Living Green from Traditional Japan. Brown is an architect, professor, author, and expert on Japanese traditional and contemporary building design. This new book explores ecological principles of late Edo Japanese life (about 1800) and their relevance to sustainable living today.

The book mixes three levels of information: detailed descriptions of rural and urban life focused on farmers, carpenters and samurai; hundreds of amazing drawings of ecosystems, houses, tools and objects of everyday life; and finally reflections on how modern society might emulate a zero waste society that fed a population of 30 million including over a million living in Tokyo. By focusing on social structure, farming, transportation, forest management, urban planning, and domestic life, Brown explores how Japan was able to maintain the environment, including clean water, and avoid many of the diseases that plagued European cities of that time.

Brown provides a remarkable analysis of how natural resources were used by this growing population without harming the environment. Some notable examples include limiting forest extraction to fallen limbs and what can be carried on a person’s back, an irrigation system in which the resulting water was filtered and cleaned by rice fields, a transportation system that relied on human and water transport rather than animals, the role of courtyards as shared space for commoners, and samurais’ reliance on urban farms to make ends meet.

Viewed from today’s post-industrial times, it is remarkable to think that Edo Tokyo has a huge tree canopy and significant urban farming, and that zero waste included re-using night soil as fertilizer with a higher price for those of daimyo lords and for entertainers whose diets were richest. By carefully showing how Edo people lived, Brown is able to show how architectural elements like the endogawa porch can be used today as a way of connecting interior and exterior, residents and visitors. Modular and multi-purpose rooms are other features that would make living today both more efficient and comfortable.

My only criticism is Brown’s focus on the ethics of sustainability. I believe that pleasure and ecology must go together, so that making better choices is about improving life not about “doing good,” which is often a poor motivator. Brown does mention some of the coercive features of Edo life that would not be attractive today, such as infanticide as a population control method. For our times, I think the challenge is to both persuade people to embrace zero waste as a lifestyle improvement, and at the same time enact new policies that reflect the true costs of agro-industrial “cheap” food  and fossil fuel reliance built.

Current policies promote bad choices, including subsidizing corn sugar despite the health consequences, and hiding the true cost of fuel by externalizing the endless wars that guarantee our supplies, the free roads that encourage sprawl, and the pollution and climate change caused by emissions.

Brown’s book Just Enough will be thought-provoking for those interested in Japanese history and culture, and those engaged in a new global dialogue about a sustainable post-industrial future. His research, analysis and images provide new inspiration for a revitalized relationship between farms and cities, people and nature.

Furukawa river below a freeway

On my way to Temple University, I passed the Sannohashi bridge, and realized that the river was almost completely covered by an elevated freeway. Later I learned the river is called Furukawa (古川), an extension of the Shibuyakawa.

The freeway destroys all the life the river could support, and also diminishes the value of the houses left in its shadows.

Furukawa river below a freeway

This is just one of many Tokyo rivers, canals and historic bridges buried by freeways. A hopeful vision of what could be is seen in the “daylighting” of Seoul’s Cheonggyecheon (Hangul: 청계천) river. As it is now, what remains of the river is a dead space created through poor planning.

The Tokyo Metropolitan Government’s Bureau of Construction has a cool interactive map showing every bridge of this river, with photos of each bridge and the views upstream and downstream. And there are photos of this river during Edo, Meiji and contemporary times.

Furukawa river in edo, meiji & now

Edo gardening in wood block prints

Encouraged by my host Suzuki Makoto sensei at Tokyo University of Agriculture, I recently visited the Edo Gardening Flowers exhibit being held at the Ukiyo-e Ota Memorial Museum of Art until November 26,2009. The exhibit has spectacular colorful wood block prints showing flowers and plants in a variety of urban settings including kimonos, at festivals, commercials nurseries, educational materials, Kabuki actors, and Noh dramas.

The exhibit theme is that the Edo period experienced a “gardening culture” in which a passion for gardens and flowers permeated all social classes, including court nobles, shoguns, feudal lords and the common people. According to the catalogue, “the Japanese people’s passion to flowers surprised the American botanist Robert Fortune as seen in his diary upon his visit to Japan in the late Edo period.”

An interesting comparison is also made between between the widespread practice of Edo gardening and also the interest of common people in wood block prints. It is wonderful to see the use of flowers and plants in both high culture realms and in depictions of everyday life during the Edo period.

Two of my favorite prints are collections of plants used by children to learn the names of flowers. The one below, from the back cover of the exhibit catalog, has the names in hiragana. The exhibit also includes Edo era ceramic plant pots.

Edo gardening in wood block prints

Some more images after the jump, and also a list of plants seen in the wood block prints.

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Views of Mount Fuji

In the fall, views of Mount Fuji reappear in Tokyo. Summer is too hazy to see long distances clearly. Even in fall, the times you see Mount Fuji are unexpected, surprising and sublime. The view above and below is from our apartment balcony at sunset.

Views of Mount Fuji

There was a recent newspaper article about a Nippori, Tokyo neighborhood association‘s effort to save their view of Mount Fuji from a hillside named Fujimizaka, “the slope for seeing Mount Fuji.” The Nippori Fujimizaka is the last of sixteen hills named Fujimizaka in central Tokyo where the view has not yet been fully blocked by high rise construction. The Arakawa ward, where Nippori is located, would like to protect the views, but the Bunkyo ward, where the construction is occurring, would like the tax revenue from new construction.

Fujimizaka view, partly blocked

Although unsuccessful in preventing a 14 story building from blocking one third of the view in 2000, the Society to Protect Nippori’s Fujimizaka is organizing to protect the remaining two thirds view. The Mount Fuji view from Nippori was included in Hiroshige Utagawa’s famous woodblock prints of urban Edo life. The preservation leader is an 83 year old man named Kaneko Makoto.

Hiroshige's view of Mount Fuji from Edo

Shinjuku Gyoen and Summer Cicadas

Summer in Shinjuku Gyoen is a wonderful escape from the crowded, hot city. The shadows seem extra dark, and the sound of the cicadas (semi, or 蝉) was loud. Click the short video below to hear the sounds of the cicadas on August 15, 2009. You can hear three of the four types of cicadas that mark early, mid and late summer in Tokyo.

Shinjuku Gyoen is one of central Tokyo’s largest green spaces open to the public: 58 hectares (or 144 acress) with a 3.5 kilometer circumference. There are French, English and Japanese gardens, an expansive lawn, and 20,000 trees.

Occupying what was once the personal residence of Edo daimyo Naito Kiyonari, the garden was created during the Meiji period in 1872 to promote modern agriculture, became the Imperial Botanic Garden, burned almost completely during the Tokyo fire bombing in World War II, and later opened as a public park.

Today, in addition to serving as a popular recreation spot, particularly during hanami (cherry blossom viewing), Shinjuku Gyoen provides cuttings and seeds for buttonwoods (sycamores) and tulip trees (liriodendrons) that are later planted as roadside tree in Tokyo.

Kafū Nagai self portrait

I am continuing to read Edward Seidensticker’s Kafū the Scribbler: The Life and Writing of Nagai Kafū, 1879-1959 (Stanford University Press, 1965). Kafū’s writing elegantly chronicles the Tokyo seasons, festivals, street scenes, and the clash of old Edo Tokyo with modernizing forces. The passage below seems particularly relevant to my previous post about the Tsukishima omasturi, and demonstrates Kafū’s love for the Sumida River, remnants of Edo, and nostalgic sounds.

“We first waited for everyone to assemble at the Garden of the Hundred Flowers, then proceeded to the Yoaomatsu restaurant. The upstairs room to which we were shown was really too cheap and vulgar, and we asked if there might not be something better, perhaps in one of the outbuildings. It seemed, though, that all the rooms were fairly much the same, and we had to make the best of what we had. It being the night of “the late moon,” the third night after the full moon, we all set out in a boat for the Azuma Bridge. At night you cannot see the factories and bronze statues, and there is only the moon gently lighting the surface of the water, and, white in the mist beyond, the houses of Imado and Hashiba on the left. Ah, here it is, I thought, almost ready to weep– the Sumida! We put the geisha ashore at the Mimeguri Landing, and as the boat tied up at Hanakawado, the drums and flutes of a festival came across the water to us, as if opening a domestic tragedy on the Kabuki stage. And so we disbanded.” (p 66, from Tidings from Okubo)

Kafu Nagai self-portrait 1932 Edward Seidensticker biography

“It is the summer that makes life in Tokyo most beautiful . . . Bamboo cages with singing insects, painted fans, mosquito nets, sweet-smelling reed blinds set into miniature landscapes- where else are there appurtenances of such delicacy? . . . Sometimes, walking along a canal of a summer evening, I have found myself drunk with a mood as of hearing a samisen somewhere- in a courtesan’s room, perhaps, in a scene from Mokuami’s ‘The Robbers.’”

Summer is in full force in Tokyo now, and I am turning to literary inspiration to better understand this complex metropolis. Viewed from above, Tokyo is an endless concrete slab with few visible elements of nature. Viewed from the street, the city pulses with human and plant life, and its residents react to the constraints of the built environment with creativity.

In exploring the layers of Tokyo, I am relying on two books written in English. A Enbutsu Sumiko, a Japanese woman educated at Smith College, wrote  “Discover Shitamachi” in 1984, and I have been using it as a guide to the Edo era survivors in the area near the Sumida River first settled by artisans and merchants in the 1600s. Enbutsu also wrote A Flower Lover’s Guide to Tokyo: 40 Walks for All Seasons in 2007, a wonderful book that suggests city walks organized by seasonal flowers.

More recently, I am reading noted Japanologist Edward Seidentsicker’s 1965 literary biography Kafū the Scribbler: The Life and Writing of Nagai Kafu, 1879-1959, from which the quote above about summer comes. Since I am still unable to read in Japanese, I rely on these historic works to better understand Tokyo’s strange mix of history and modernity. Seidensticker’s biography insists that his subject is “better and more important than any of his works” and that his work can only be understand in the context of his life, his city, and the Meiji tension between Edo and modernity.

Kafu Nagai 4 images Tokyo

Whether considering historic sites, ancient festivals and crafts, the ever-active wrecking ball, and latest popular culture, it is humbling to think that this tension between traditional and modern urbanity  has existed for over 100 years in Tokyo. I am looking forward to Seidentsticker’s chronicle of turn of the century Tokyo life, and visiting some of the same places myself to sense if there any echos still audible.

Tsukudajima canal

Next to Tsukishima is Tsukudajima, a tiny island that escaped the earthquake, war and high rise redevelopment. While not all of the houses have been preserved, the scale and and small alleys have been. Walking there today, you can see residents still fishing, visit a beautiful old shrine Sumiyoshi Jinja, buy tsukudani (fish boiled in miso sauce) from Edo-era stores, and attend annual obon and omatsuri festivals.

Tsukudajima old streetscape

This August there will be a special omatsuri festival that happens only once every 50 years. See the government website for more information: http://tsukuda.chuo.tokyo.jp/

Special omatsuri Tsukudajima poster

More photos after the jump.

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Green Fingers Fiber City: Tokyo 2050

Fiber City: Tokyo 2050 is a vision of the future of Tokyo with a radically new balance between natural and built environment, conceived by Professor Ohno Hidetoshi of Tokyo University. I am fascinated by how this future vision responds to four urban challenges that involve shrinking: decreasing population, aging society, environmental crisis, and earthquake potential.

The overall vision is that a shrinking economy makes many facilities and houses surplus, freeing up land for a green city. While unprecedented population declines have been predicted for Japan due to falling birthrate and continued resistance to immigration,  I wonder if the metropolis will shrink as much as the countryside. Nonetheless, Fiber City provides new models for urban living in greater harmony with nature, with better access to mass transit, and improved livability with reclamation of historic features like Edo canals and bridges that have been covered by elevated expressways.

The four strategies include Green Fingers (image above), Green Web, Green Partition, and Uban Wrinkle. Taken together, they allow for greater green space, more mobility, reclamation of history, re-use of elevated freeways, emergency access for disasters, and restoration of historic urban features. As a visionary view of Tokyo, from macro to micro, Fiber City provides a model for global cities retrofitting for enviornmental and human benefits.

Green Web Fiber City: Tokyo 2050

Green Partition Fiber City: Tokyo 2050

Urban Wrinkle Fiber City: Tokyo 2050

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