drawings

Azby Brown’s book, Just Enough: Lessons in Living Green from Traditional Japan

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.

Tokyobessesion: drawings by Pierre Alex

Tokyobessesion: drawings by Pierre Alex

On Monday I visited my new friend Pierre Alex’s “tokyobsession” art opening of drawings, whose subject is Tokyoites. A French product designer, Pierre is a talented illustrator, and this collection of drawings captures many of the themes that animate Tokyo Green Space and my fascination for this city.

Tokyobsession turned out to be over 50 line drawings on photograph paper, each folded in half. In form, they correspond to the sketch books he uses to capture scenes of Tokyo: parks, freeways, alleys, sidewalks, commercial areas, cafes, and the people who animate the city. Using photo paper highlights the quick and “snapshot” quality of his talented drawings, and suggest the perspective of an outsider looking in.

Pierre told me that he enjoys how Tokyo is the “anti-Haussmann” city: unplanned, chaotic, grassroots rather than top-down, improvisational, and anarchistic. The city’s built environment, including buildings and parks, is in many ways not beautiful, but it is how people create urban spaces and live their lives in a blurring of public and private spaces that make the city so charming, captivating, and livable.

Pierre’s view of Tokyo, in words and even more so in drawings, also echo a recent blog commenter’s email to me. This writer told me about her appreciation of the unusual resident-authority relation in Japanese cities that spurs ordinary urban residents to create greenery and community in even the most unlikely places.

I marveled at Pierre’s talent for not just seeing the city but for capturing it in drawings that reveal everyday scenes and the city’s spirit.

Update: After this post, I realized two things. The images at the cafe spelled out the show’s title (see photo below). And many of the images are in Pierre’s blog called “tokyobsession” (in French and illustrated).

Pierre Alex's "tokyobsession" show at dish organic cafe