Unlike Shirakawa-go in the Gifu prefecture, the remote Gokayama region in the Toyama prefecture is exempt from big bus tourism and seems to attrach more independent travelers. Even though the two areas are both declared as UNESCO world heritage sites, they are located in two different prefectures, and I have a feeling that the Gifu tourist association has been promoting Shirakawa-go more heavily than Toyama. Even the buses to the Ainokura village are less frequent, and I was the only person who got off the bus at the stop, which was a huge contrast from the bus full of tourists all getting off at Ogimachi earlier in the morning.
After being dropped off by the road side up on a mountain, I was slightly hesitant because aside from mountains, there was no sight of the village. I followed a small path and after about 15 mins’ walk, I finally saw the village down in the valley. Like Ogimachi, it snowed quite heavily a few days before, and so the grounds of the village was covered in snow.
Perhaps it is unfair to compare Ainokura with Ogimachi, because the two villages are quite different. However, I was relieved not to see coaches of tour groups in the rather sleepy Ainokura, which to me felt more authentic already. This quaint village is much smaller in size, and there are are not as many tourist attractions. There are 24 Gassho-style houses, including residences, temples, dojo studios, and huts. Most of them were built between the end of the Edo Era and the beginning of the Meiji Era, and many of the residences are unoccupied now.
One of the main attractions here is the wonderful Ainokukura Folklore Museum (with 2 buildings), where visitors can learn about the local culture, festivals, folk art and music. There are also some traditional musical instruments on display like the Binzasara, which is made of many pieces of wooden plates strung together with a cotton cord. There are handles at both ends, and the stack of wooden plates are played by moving them like a wave (which I got to try out later in the evening).
A walk up to the attic enables visitors to appreciate the architecture and structures of the Gassho-style farmhouses. The exhibits also reveal the locals’ frugal lifestyles, yet they are compensated by the village’s strong community spirit, and this collective and cooperative way of living is called yui.
Ainokura Folk Museum
Gokayama is also famous for washi paper, which was thought to have arrived from Kyoto at the end of the Heian Period when survivors of the Taira Clan escaped to this region after their defeat by the Minamoto Clan.
There is a Washi Workshop Hall and shop in the village, where a washi paper artisan works and sells his work and other local washi paper products. The artisan also conducts short paper-making workshops daily; however, when I arrived, he was busy teaching two other travelers (who turned out to be staying at the same minshuku as me), so I missed the opportunity to do the workshop with him. Nonetheless, I did buy some beautiful and one-of-a-kind washi paper products made by him, and it felt good to meet the face of the artisan behind the products.
Ainokura washi workshop hall
There are a few minshuku in the village, and I chose Minshuku Yomoshirou, which is anGassho-style houses run by a middle-aged couple. The farmhouse is 250 years old with thatched roof, and in the middle of the house, there is a traditional irori (fireplace) where grilled food is prepared.
On the wall, there are also photos of the variety of local vegetables and herbs, as well as how the community worked together to construct or fix the thatched roofs.
Minshuku Yomoshirou
Dinner was served in the living/dining area with three other guests, including a Canadian artist, an Amercian/Korean photographer (whom I had already spoken to earlier at the washi paper hall) and a young woman from Russia. We were served grilled local fish with vegetables and herbs that are picked locally – all of which were delicious.
During and after dinner, our host also performed some folk songs with local musical instruments including the Binzasara, and he made us all try it out. It was a sociable and fun evening.
We were told not to wander around outside in the evenings and early in the mornings, which we thought was rather strange – not sure if it is for safety reasons or something more sinister!
I enjoyed my stay at this minshuku, despite the thin paper partitions (you could hear every sound from the guests next door), shared toilets and bathroom (something you have to get used to when staying in traditional ryokans and minshukus in Japan). I felt that it offered a glimpse into the lives and cultures of the people living in the region, which I believe are slowly changing… I only wish that this village will retain its charm and not become a mass tourist attraction in the future.
Over-tourism is now a global problem, and it becomes more problematic when a historic and tranquil village is suddenly listed as an Unesco World Heritage Site. While many governments endeavour to get their country’s famous sightseeing sites listed in order to generate tourism and income, they are also putting these sites at risk of over-tourism and environmental issues. Unfortunately, the remote mountain village in Gifu prefecture, Shirakawa-go, has been suffering from these problems since it (along with its neighbouring Gokayama) was declared as Unesco World Heritage Site in 1995. Around 1,700,000 people visit this small village each year, and it is continuing to grow; it is hard to imagine how it can withstand the impact and maintain its traditional way of life in the future.
When I was doing my research before my trip, I read from many forums that the area’s tranquil ambience has been spoiled by numerous big bus tour groups that on average spend less than a two hours there daily. After reading many negative comments online, I decided to spend the night at the less crowded neighbouring village instead, but I still wanted to see for myself the appeal of this area.
Due to the remote and mountainous location, only buses or cars can reach these villages. Since I had already forwarded my luggage to Kanazawa, I was able to travel with a rucksack which made life much easier. During the bus journey towards the village, I was utterly captivated by the beautiful mountain scenery outside of the window. And later I learned that there was a big snowfall only a few days ago, hence there was still snow on the ground when I arrived.
Located on the Sho-kawa River, Ogimachi is the largest village in the region with a population of 1700 people, and it is home to several dozen well preserved thatched A-framed gassho-zukuri (constructed like praying hands) farmhouses, some of which are more than 250 years old. Due to the construction of the Miboro Dam over the Shokawa River in the 1960s, many of the nearby villages were flooded and the gassho farmhouses were moved to Ogimachi’s Open air museum for preservation, while others were relocated to the Gassho Village in Gero Onsen.
The structures of these farmhouses are unique to this region, and they are designed to withstand the harsh winters and heavy snow. Aside from the architecture, its folk culture and lifestyles are also quite distinct.
Gohei Mochi is the region’s well-loved snack made of grilled sticky rice covered with a layer of walnut-miso coating and then regrilled
Each year, Shirkawa-go hosts a winter light-up event on selected Sunday and Monday evenings in January and February, and in 2017, over 40000 people visited during the event over six days. Overwhelmed by its popularity and the problems caused, the Tourist Association had to introduce a new system to limit visitor numbers during the light-up events by requiring advance reservations. But is this enough to combat the long-term problems caused by mass tourism?
During my visit, I noticed that there were coaches of tourists flocking in and out of the village in no time; I think they probably spend about an hour in the village for some photo opportunities. Apparently, the village is much quieter in the evenings since these tour groups do not stay in the village overnight.
It is understandable why this the idyllic village would attract so many tourists, but I cannot imagine this is sustainable in the long-term. I did not encounter one tourist when I visited the Jin Homura Art Museum showcasing art works by the the painter, Jin Homura, who used to live in this house. I am not sure how much income these tourists are bringing to the village if they only spend so little time here.
Top: The open air museum; Bottom two rows: Jin Homura Art Museum
After a visit to the art museum, I had some freshly made soba noodles at the moderately-priced and casual Soba Wakimoto located inside a large gasso house. But due to the restricted bus timetable, I had to leave after lunch in order to catch the bus to the nearby and even more remote Ainokura, where I will be spending the night in a traditional minshuku.
I don’t think the problem of over-tourism can be solved overnight, but I hope that local Tourist Associations can find a balance so that these picturesque and important villages will not be destroyed in the years to come.
Stunning scenery of the mountains during the train journey to Takayama
Even though I am familiar with unpredictable weather, I wasn’t fully prepared for the fluctuation of temperatures and weather while traveling around Japan. For the first 10 days of my trip in the Kansai region, I experienced exceptional warm and sunny weather (above 25 degrees). Yet as I headed northwards, the temperature had dropped down to around 12 degrees by the time I reached Hida Takayama. Located in mountainous region in Gifu, which is known as the Japan Alps, the city has an altitude of 562 m (1844 ft), hence it is called ‘tall mountain’ in Japanese. Although I was wearing my down vest, waterproof jacket and scarf, my enthusiasm was dampened by the cold and wet weather when I arrived.
The modern-looking Takayama train station also showcases furniture made in the region
After dropping off my luggage at the Yamato luggage forwarding office near the train station (my saviour during my travels around Japan), I was craving for something hot and comforting. And so I headed into the nearby Hida noodle shop, where they specialise in handmade soba noodles, and it was exactly what I needed.
Hida noodle shop
After settling down at the ryokan, I spent the afternoon walking around the old town, which has been preserved with many buildings and streets (esp. Sannomachi Street) dating from the Edo Period (1600-1868), when the city was full of wealthy merchants. This area is also known as the “Little Kyoto”, and like Kyoto, it does get very crowded during the touristy seasons.
Hida Takayama is particularly well-known for woodblock printing, and there are a number of handicraft shops that sell souvenir featuring this technique. One local specialty is the Shin Kougei animal dolls, which are all hand-printed and hand-sewn using the traditional techniques.
Hida Print Coffee Shop Baren
And if you want to admire the woodblock prints up-close, then you can do so at the Hida Print Coffee Shop Baren while enjoying some snacks and coffee at the same time. The cafe is a bit touristy, but it is quite cosy with good ambience.
Fujii Folk Craft Museum
Slightly put off by the rain and crowds in the streets, I paid a visit to the Fujii Folk Craft Museum (Fujii Bijutsu Mingeikan) situated inside a traditional storehouse, built entirely with Japanese cypress in the Edo Manryu style. It houses a collection of 2,500 historical art and craft items amassed by Dr. Fujii, including some fascinating household items/ everyday objects.
HIDA TAKAYAMA FACTORY Dolce and Kitchen
On my way back to the ryokan, I could resist the ice cream poster outside of HIDA TAKAYAMA FACTORY Dolce and Kitchen, and I opted for a Mont blanc ice cream, which was one of the best ice creams I have had during my trip. I love eating ice cream in cold weather – I just found it immensely pleasurable!
My lodging in Hida Takayama was a traditional ryokan called Oyado Yamakyu. It is popular with tourists because it is good value and the service is friendly and accommodating. I was really impressed with the multi-course dinner (and breakfast), which was included in my room rate; the food just kept coming… until I was almost unable to move. Yet it was all fresh, delicious and healthy, so I didn’t feel too guilty after the feast.
When I was planning my trip to Mino, I struggled initially to find an accommodation in the town centre. I was quite perplexed by this, and so I started to check on google map. Eventually, I found a hotel called Baison, but apart from the location, I could not find the website nor any info online. Hence I decided to write an email to the local tourist office, and within a day or two, someone responded and told me that the hotel has only just opened, but they would ask the hotel to contact me as soon as possible.
So far so mysterious… soon after that email exchange, someone from Baison emailed me to apologise for the lack of information online. Apparently, the 5-room hotel had just opened, and the website was due to be launched, but I was willing to take the risk as the photos and descriptions of the hotel looked beautiful. Although the price was over my planned budget ( actually it was cheaper then due to the soft opening), I decided to splash out for one night.
The 150-year old former Umemura Residence has been converted into an intimate and elegant hotel while maintaining the original architectural details and structure. As soon as I walked into the hotel, I was immediately struck by the high ceiling, roof beams and Asian antiquities. And not surprisingly, I was the only guest staying there during my visit, so I received almost VIP treatment from the polite couple who run the hotel. They told me that they moved to Mino from the city recently, and they are very new to the town. However, their dream was to preserve and restore old buildings, and the hotel was their first project.
Throughout this trip, I have stayed at traditional ryokans, temple lodging, modern hostel, business hotel, and guesthouses etc, yet this hotel really stood out for me in terms of its design and attention to details. Everything has been tastefully chosen, and nothing looked out of place.
One of the unusual feature at this hotel is their stone sauna. Unlike standard sauna, guests can lie down on hot stones instead. It was a good way to get the toxin out of the body after a long day of travel and sightseeing.
The cafe has two levels and it is constructed of mainly wood. There is also a library where guests could read while enjoying their coffees, and best of all, they could even pick their favourite cups and saucers from the photos.
Although there is no restaurant at the hotel, it is located just off the main street, so most of the restaurants and cafes are within walking distance.
I would highly recommend this hotel if you are planning to stay in Mino. Although the room rates are not cheap, they are worth it considering the effort that has been poured into this project. And if you love architecture, then you are likely to appreciate the beauty of this restored building.
I think many people who are interested in Japanese paper would have heard of Mino washi paper, especially after it was was designated an Intangible Cultural Heritage by UNESCO in 2014. The origin of this paper dates back to the Nara period (710 ~ 784 CE), and is considered to be the oldest paper in Japan. Located by the Nagara River, Mino is lined with wooden buildings built from the Edo to Meiji period.
I have wanted to visit Mino (the train/bus station is called Minoshi) for years, but never quite made it somehow. On this trip, I decided to include one night in my itinerary; the bus journey was quite straightforward from Nagoya, and it took about two hours. However, I would recommend using the Nagaragawa Railway (which I took when leaving the town) if you get the chance. Aside from the cute trains, there are also some scenic routes that you can enjoy if you want to see more of the Gifu region.
Nagaragawa Railway train and Minoshi train station
I would say that Arimatsu and Mino are two of my favourite towns during my entire trip. I love the fact that both towns have preserved their traditional craftsmanship and townscape. There is rich history, beautiful merchant houses, and best of all, they are not swamped with tourists. When you walk around the two towns, you feel as if you have stepped back in time, and it is hard not to be captivated by the ambience and historical architectural details around you. The two main streets in Mino were developed by the feudal lord Nagachiku Kanamori during the Edo Period, and were designated as an “area preserving traditional architecture” in 1999.
The preserved townscape of Minoshi is full of washi paper merchant houses, shops, sake breweries and temples
One unique feature of Mino is its ‘udatsu’ streets. An udatsu was originally a firewall built at both ends of a roof, and its purpose was to prevent fires from spreading. However, during the Edo period, the designs of the udatsu became wealthy washi merchants’ status symbols because of the high costs to install them, and you can still admire them on the rooftops of many buildings in Mino.
One of the most important buildings in Mino is the Former Imai Residence and Mino Archives built in the mid-Edo period (the end of the 18th century). The gable tiles without decorations are the oldest form of udatsu; they are layered twice on the left and the right, while other houses have only one single layer.
Former Imai Residence and Mino Archives
The house was not only a residence, but it also had a reception area where the family used to conduct their wholesale paper business. One interesting feature of the house is a skylight which extends about 3 metres up from the ceiling; it was built during renovations in the Meiji Period.
In the garden, there is a suikinkutsu – a Japanese garden ornament and music device buried underground which creates sound similar to koto/Japanese zither when you pour water over it.
Aside from the beautiful traditional architecture, the shops and restaurants here all make efforts to decorate their shop fronts to attract customers in.
Not surprisingly, when you travel to smaller towns and less touristy places, prices tend to drop considerably. This was what I noticed when I traveled around Japan for weeks. I had lunch at a local soba/udon restaurant called SansuiHonten (1902-2 Motozumi-cho) recommended by the owners of my guesthouse; not only the food was tasty with huge portions, it was also a bargain.
Lunch at SansuiHonten
And for dinner, I decided to go to an Italian wine bar/restaurant nearby called Barest, and was quite pleasantly surprised by the food quality and cooking.
Barest
Yet my favourite cafe/shop in Minoshi has to be The Happy Stand. Opened in the summer of 2017 by a young friendly couple, the cafe is housed inside a building over 150-year-old. The house has been beautifully restored and converted into a shop and cafe with a focus on ocha and matcha tea. I was recommended the Organic Houjicha Latte and it was delicious. The shop area also sells a range of contemporary ceramic ware called Utsuwa that are made locally in Gifu. I particularly loved the extra-tall washi paper lantern hanging in the middle of the shop!
The cute young couple behind The Happy Stand cafe/shop
Due to unforeseen circumstances, my original itinerary in Japan was altered at the last minute, and I had to go alone without my travel companion and cancelled all the pre-booked accommodations.
Fortunately, I managed to rebook my entire trip one day before my departure; and a few days later, I found myself spending the weekend in the suburbs of Yokosuka, a military port about an hour from Tokyo.
I had found a pleasant and tranquil accommodation via Airbnb, but it was situated in the middle of nowhere with an infrequent bus service and no shops nor restaurants nearby. I did not want to go to the city centre, instead I decided to visit Yokosuka Museum of Art, a sea-front contemporary art museum located within the Kannonzaki Park.
After 45 minutes of walking (to the nearest train station), 2 train journeys and a bus ride later, I finally found myself standing outside of the museum (don’t ever judge the distance from a map, because it can be very misleading)!
The breathtaking architecture and setting are the highlights of this museum. Since it is located an hour outside of Tokyo and not easily reached by public transport, therefore, it is not frequently visited by foreign tourists.
The museum was designed by Japanese architect Riken Yamamoto in 2007, and it is one of most stunning contemporary art museums that I have come across. Unfortunately, photography is not permitted inside, it is a shame because the exhibition area (located in the basement) is as enthralling as the exterior.
All the natural light reaches the exhibition area from the side and skyline circular windows, which create a playful effect and at the same time brighten up the area. There is also a set of spiral staircase that brings visitors to the rooftop, where they can enjoy a panoramic view of Tokyo Bay. The indoor observation deck is called the “Lover’s Sanctuary project”.
And outside of the deck, visitors can wander around the rooftop and hike up to the hill behind the museum.
After visiting the museum, I decided to take a stroll along the seafront towards the Kannonzaki lighthouse. There were almost no tourists, and the area was quiet and peaceful.
Opposite the museum is Spasso, a Japanese spa or onsen with indoor and outdoor hot spring facing the sea. After about two hours at the onsen, I felt relaxed, revitalised and ready to head back.
I enjoyed spending the weekend in the rural area, even though there was no sights nor ‘entertainment’ nearby, it allowed me to slow down and get away from all the hustle and bustle in Tokyo. If I have the time, I would certainly try to explore more rural parts of Japan on my next trip, because it provides an authentic insight into understanding how the local Japanese live and work.
Japan is a country that deeply respects its traditions and heritage. Architectural conservations efforts by the authority could be seen at the Edo Tokyo open air architectural museum (read my previous entry). Yet is it too little, too late? In fact, due to rapid growth and urbanisation of Tokyo in the last few decades, the city has lost numerous architectural masterpieces, historical cultural buildings (like Ginza’s Kabuki theatre), shrines and gardens. Now many of the remaining iconic Modernist buildings are under threat again because of the upcoming 2020 Tokyo Olympics. I am flabbergasted by how little effort had been spent on preventing property developers and other parties from tearing down these buildings. One would ‘expect’ this to happen in China, but the truth is that Japan had been the forerunner of this culture and trend since its economic boom in the 1970s.
The renowned American Modernist architect Frank Lloyd Wright designed 14 buildings in Japan from 1912 to 1922, yet only a few have been preserved. His iconic Imperial hotel in Tokyo survived the Great Kanto Earthquake and bombing in the Second World War, but it could not escape demolition by property developers in 1968 (somethings never seem to change). Miraculously, a portion of the hotel (including the grand entrance/lobby and the reflecting pool) had been saved and relocated to the Meiji Mura Museum, an open-air architectural park in Inuyama near Nagoya.
Today the only surviving building by Frank Lloyd Wright in Tokyo is Jiyu Gakuen Myonichikan ( The house of Tomorrow) built in 1921. Surprisingly, this architectural gem is still an under-the-radar tourist destination, which suited me fine as it gave me the opportunity to explore it freely.
Located in Ikebukuro, this former girl school is ‘well-hidden’ from the bustling part of the area. Listed as an Important Cultural Property in 1997 for its historic and artistic values, restoration work of the buildings was conducted from 1999 through 2001, and was officially opened to the public in 2001.
Built of economical 2 x 4 wood and plaster, the Myonichikan consists of four buildings: the main, the east, the west buildings and an auditorium designed by Arata Endo located across the street south of the site. The main building is considered to be a ‘Prairie house’ design, commonly seen in the late and early 20th century. The colour scheme is simple: creamy yellow walls paired with dark green door and window frames/decorative lines; while dark brown furniture and flooring is used throughout the building.
Strongly influenced by traditional Japanese architecture and fascinated by Japanese woodblock prints, Wright‘s design embodies the simple and subdued quality that can often be found in traditional Japanese architecture. I love his use of natural light, geometrical patterns and lines. Wright also paid a lot of attention on the details such as the furniture and lighting; his hanging lights are the prominent feature in the dining room, and the Japanese-inspired wooden stenciled screen reveals his fondness for craftsmanship.
The most spectacular room though is the lounge area, where visitors can enjoy a cup of tea or coffee and a biscuit (for an extra 200 yen at the entrance) while admiring the stunning window design, Biblical wall mural and cute wooden chairs and tables specifically made for children.
Last but not least, there is also a shop that sells lifestyle goods made by local designers and communities, as well as books and souvenir related to Frank Lloyd Wright, including a paper model of the building.
The National museum of Western art in Ueno park
A more well-visited Tokyo Modernist architecture is The National museum of Western art located inside Ueno park. Designed by the renowned Swiss/French architect Le Corbusier (or Charles-Édouard Jeanneret-Gris), the building was completed in 1959 as a symbol of the resumption of diplomatic ties between Japan and France after World War II. As the only building designed by Le Corbusier in the Far East, this building was designated as an Important Cultural Property / Buildings in 2007.
The museum was born to house the remarkable Impressionist art collection amassed by Japanese industrialist Kojiro Matsukata in Paris from 1916 to 1923. This vast collection was briefly confiscated by the French Government at the end of the Second World War, and a majority of it was eventually returned to Japan (while some valuable ones were retained in France) on the condition that the works should be housed in a museum designed by a French architect.
Designed in the later period of his life, this exterior of this building differs in style from his famous earlier works like Villa Savoye and Chapelle Notre Dame du Haut ( except for the columns). As a supporter of utopian ideals and Brutalist architecture (which flourished from 1950s to 70s), this building is a fine example of this architectural style.
From the exterior, this austere and inconspicuous grey concrete structure appears to be almost windowless, with only one window on each side of the rectangular building. Yet once inside, one can see that the natural lighting reaches the exhibition rooms from the ceiling/roof or through the floor to ceiling windows that overlook the courtyard. The high ceiling, skyline windows (now partly artificially lit) and columns create a dramatic effect and strong impact as one steps into the exhibition room.
It is highly significant that great works of art can be viewed in a non-intrusive environment where the public can linger and be absorbed in the artworks. This is partly why this building is a timeless masterpiece, unlike many contemporary museums designed by celebrity architects who are more concerned with showing off their signature styles than its contents and viewers’ experiences.
Tokyo Bunka Kaikan
Opposite the National Museum of Western Art is another Brutalist architecture: Tokyo Bunka Kaikan designed by renowned Japanese architect Kunio Maekawa (whose beautiful house can be visited at the Edo Tokyo open-air architectural museum mentioned in my previous entry).
The prodigious concrete building was built in 1961 as part of the project to celebrate 500 years since the birth of Tokyo. Renovated from 1989-99, it is one of the oldest concert halls for classical music in Japan.
Left & middle: The brutalist facade of Tobu Department Store in Ikebukuro; Right: The Nakagin capsule Tower in Ginza
Tokyo’s endangered Modernist architecture:
There are currently a few Modernist buildings that are facing the possibility of being demolished and one of them is the iconic Nakagin capsule Tower in Ginza. Built in 1972 by Kisho Kurokawa, one of the founders of the Metabolism (who later designed the National Art Center in Roppongi), this peculiar and intriguing building is a rare example of this home-grown architectural style.
The Metabolism is an avant-garde Japanese architectural movement inspired by utopian ideals, organic biological growth, recyclability and sustainability. The residential and office-mix building consists of 140 individual capsules stacked on top of or next to each other, and they were designed to be replaced every 25 years (although this never actually happened).
Due to neglect and disrepair, 80% of the building’s remaining residents voted to have the building demolished to make way for a more modern apartment block in 2007. Since then, many have been trying to preserve this unique building. A ‘Save Nakagin Capsule Tower‘ community was formed and a Kickstarter campaign was launched to raise funds for the group to buy the capsule one by one. The fate of this building is yet to be decided, but visitors to Tokyo can stay in one of the capsules via Airbnb for around £50 per night.
I sincerely hope that this innovative and futuristic (in the 70s sense) building will be saved, and I shall try to book at least one night there when I next visit Tokyo.
The trailer of the 2010 documentary ‘Japanese Metabolist Landmark on the Edge of Destruction’ produced by Michael Blackwood
The demolition announcement by the owner of the iconic Modernist building HotelOkura has been causing outcry recently. Opened in 1962 ahead of the 1964 Tokyo Olympics, the main wing of the much-loved hotel will be demolished and be replaced by a bigger 18-storey glass tower in advance of the 2020 Tokyo Olympics.
Since the announcement, Monocle magazine has created an online petition to ‘Save the Okura‘; while Tomas Maier, the creative director of Italian luxury goods company Bottega Veneta, has partnered with Japanese architecture magazine Casa Brutus to launch a social media campaign asking social media users to post photographs to Twitter under the hashtag #MyMomentAtOkura. You can also watch the designer’s plead in the video below:
The interior of Okura Hotel (downloaded from the internet)
Save Japan’s Modern Architecture – Tomas Maier in Japan BOTTEGA VENETA
I highly doubt that these petitions will change the minds of the hotel’s management. It is a real shame that I have never visited Hotel Okura during my many visits to Tokyo, but I was fortunate enough to have stayed at the massive 40-storey Akasaka Prince hotel before it was torn down in 2013. Designed by Pritzker Architecture Prize winner Kenzo Tange in 1982, the rooms at this Blade-runner style hotel were spacious (unlike most other cabin-sized hotel rooms in Tokyo) and the view was spectacular.
Elsewhere, Kengo Tange‘s Kagawa Prefectural Gymnasium in Takamatsu City (featured in Maier‘s video) is also facing possible demolition after it was closed to public due to safety reasons last year. The brutalist building was built in the same year as Tange‘s Yoyogi National Gymnasium before the 1964 Olympics.
AnAssociation of Conservation of Kagawa Prefectural Gymnasium was formed to preserve the building, and it is backed by many local architects. Will this effort falls on deaf ears again? Regardless of the outcome, I think it is about time that the Japanese authority reviews their conservation effort and policies especially in regards to modern architecture.
These cases are emblematic of a larger problem in the Far East/Asian countries. The constant thirst for newer and glossier buildings and objects is a prevalent mindset throughout Asia. Aside from Japan, culturally and architecturally significant buildings are also being torn down in other parts of Asia despite public outcry. As Maier mentioned in his video, we need to act before it is too late, but perhaps it is already too late.
No matter how many times I have visited Tokyo, there would always be interesting sights or attractions that I have yet to visit. And on this trip, I visited the Edo-Tokyo open air architectural museum in the western suburbs of Tokyo for the first time. Situated close to the Ghibli Museum (a MUST for all Studio Ghibli fans), the museum has served as the inspiration for many of the Studio Ghibli’s animations.
Since the Edo period (1603 to 1868), Tokyo has lost many valuable historical buildings due to natural and man-made disasters like fires, floods, earthquakes and warfare. And like many other major cities around the world, numerous culturally significant buildings were also destroyed because of urban regeneration or redevelopment.
In 1993, the Tokyo Metropolitan Government relocated and reconstructed 30 historical buildings within the seven-acre park as a way of preserving their cultural heritage.
Walking around the site, you almost feel like you are on a film set. There are several private residences (with gardens), a tea room and a mausoleum in the central and west zones; and a mini town full of quaint shops in the east zone. There are also guides/volunteers on site explaining the history of the buildings (in Japanese), and I was lucky to have had my Japanese friend there translating for me.
In the east zone, you would come across a Meiji period (1868-1912) ‘high street’ full of specialist shops selling soy sauce, cosmetics, stationery (my favourite), grocery, umbrellas and kitchenware etc. At the end of the street, there is a large temple-like public bathhouse “Kodakara-yu” which was originally built in 1929. This mini town served as Hayao Miyazaki‘s inspiration for the lost world in “Spirited Away” (one of my favourite Ghibli animations).
Kodakara-yu publicbathhouse
This beautiful gable-roofed public bathhouse (sento) has been carefully restored, with separate male and female changing areas and baths. The male side features a mural of Mount Fuji ( an ubiquitous theme in traditional bathhouses), while the female side features a picturesque but less ‘grand’ scene ( anything to do with sexism here?).
The baths are divided by a low wall with several tiled paintings depicting scenes from traditional folklore and fables; meanwhile, nostalgic advertising posters can also be seen in the changing areas.
In the west zone, there are some Edo farmhouses with thatched roofs from the former Musashino Folklore Museum. And interestingly, there are volunteers (or Hijiro-kai) who would demonstrate or work on various tasks inside these farmhouses daily (except for holidays).
Unexpectedly, I discovered my ‘dream house’ here… and it was a house built in 1942 by the Modernist architect Kunio Mayekawa for himself. The interior of this Japanese gabled roof wooden house reminded me of Finnish Modernist architect Alvar Aalto‘s home in Helsinki (read by earlier entry here). Built during the Second World War with limited materials in Shinagawa, the house was dismantled in 1973 and eventually reassembled at the current site. I love the bright and high-ceilinged salon; and the mix of Japanese screens with western modernist furniture and decorations. The house does not look outdated, and it proves that good designs will always stand the test of time.
Top row: House of Koide; 2nd row: House of Georg de Lalande; Bottom row: Architectural paper models on sale at the museum shop
The “House of Georg de Lalande” is another house that inspired the Ghibli animation team. This Western-style house was originally built in the Shinjuku ward by German architect Georg de Lalande, and was enlarged into a three-storey wooden house in 1910. Now the house has been converted into a cafe/tearoom.
I highly recommend a visit to this open air museum (less busy during weekdays), and you can combine it with either the Ghibli musuem or the historical Jindaiji Temple ( the second oldest temple in Tokyo, originally built in 733) and Jindai Botanical gardens. After spending days in the hectic Tokyo city centre, it is worth venturing out because you are most likely to enjoy a more relaxing pace in this suburban yet leafy part of the city.
While I was in Tokyo, I met up with the Japanese architect/ director behind a brand that we will be launching soon. I mentioned to him that I would be visiting the Edo-Tokyo open air architectural museum, and he recommended a visit to the nearby Musashino Place in Musashino City.
Designed by kw + hg architect and opened in 2011, Musashino Place functions primarily as a public library, whilst providing spaces for children/youth activities, educational workshops, meetings and civic events. The building is located within a small park near the Musashi-Sakai station, and it stands out from afar due to its cool white exterior and massive oval-shaped windows.
As soon as I stepped into the building, I was immediately struck by the clean lines and spaciousness. The mix of natural light source with soft interior lighting works harmoniously. This is one of the most minimal and yet striking libraries that I have ever visited. It showcases the essence of Japanese aesthetics and design principles brilliantly. It is simple, subtle, open, calm and well balanced. In many ways, this contemporary library is not so indifferent from a traditional Japanese zen temple.
One of the most fascinating aspects of this building is that it appears to be a three storey building from the exterior, yet in fact, it has four floors and three basement including an underground car park! Aside from a library collection of 140,000 books and 600 periodicals, there are 400 reading seats, a cafe on the ground floor, as well as soundproof recording studio in the basement.
When I was visiting the library, I saw groups of mothers and their young kids sitting and playing outside in the park. While inside, I saw a few elderly men taking naps on the reading chairs (why not?), students doing research and friends chatting and relaxing in the cafe.
Musashino Place not only serves as an educational facility, it also encourages social interactions for people of all ages and backgrounds. In an ideal world, all libraries should be like this… if all local councils in the UK would invest and improve their library facilities and services for youths, I am sure that literacy rates would improve and crime rates would also be reduced.
The residents of Musashino City are a lucky bunch!
It is not hard to understand why architecture enthusiasts love Tokyo. The metropolis showcases myriad of alluring post-war architecture, and it would be a shame not to check out some of the city’s most original and conspicuous designs by internatioanlly renowned architects.
In the next few entries, the focus will be on Tokyo’s architecture; and I shall start from contemporary designs.
The interior of 21_21 Design Sight
Being one of the most respected Japanese contemporary architects, Tadao Ando‘s 21_21 design sight is his signature work in Tokyo. Opened in 2007, the design museum has been operating under the direction of three Japanese design masters: fashion designer Issey Miyake, graphic designer Taku Satoh and product designer Naoto Fukazawa.
The sleek and futuristic building is characterised by its seamless steel roof and concrete walls. Interestingly, seventy percent of the building is located below ground level, yet a large light-well lets in natural light and brightens up the sunken exhibition area.
National art center designed by Kisho Kurokawa in Roppongi
Not far from this design museum, there is another intriguing architecture which houses The National Art Center. Opened in 2007, this huge contemporary art center was designed by Kisho Kurokawa, one of the founders of the Metabolist Movement and the architect of Nakagin Capsule Tower in Ginza.
This predominantly glass and concrete building offers the largest exhibition space in Japan. However, the center does not have its own permanent collection, instead it regularly hold major and smaller exhibitions. The undulating glass facade is the highlight of this building, and it creates a strong contrast against the interior’s giant inverted concrete cones.
Also within the “Art Triangle Roppongi” is the Suntory Museum of Art designed by another internationally renowned architect, Kengo Kuma. The architect combined traditional and contemporary Japanese elements to create a low-key, warm and spacious museum space which includes a tea-ceremony room.
Top & 2nd left rows: Dior building; 2nd right row: Hugo Boss building & Tod’s building; Bottom two rows: Tod’s building
The best area to explore and appreciate Tokyo’s contemporary architecture is undoubtedly Omotesando. This shopping area is a grand showcase for an impressive array of modern and innovative architecture designed by world class architects for major international fashion and accessories brands. Here are some of the highlights:
Dior building – Designed by Pritzker Prize laureates Kazuyo Sejima and Ryue Nishizawa of SANAA in 2004, the minimal transparent glass walls is especially spectacular at night as it is illuminated from within, creating a glowy effect.
Tod’s building – Designed by Toyo Ito in 2004, the L-shaped building is wrapped in a skin of interlocking concrete supports and glass that mimic the trees lining the street. The facade design mimics the natural growth patterns of the trees nearby, whilst bare tree branches are reflected through the glass in the winters.
Hugo Boss building – A new addition to the avenue, this building was designed by renowned architect Norihiko Dan in 2013. It somewhat resembles more of a Brutalist Cathedral than a high-end menswear store to me, but the striking bold design does capture the German brand’s cool and manly appeal.
Gyre building – Designed by Dutch architecture firm MVRDV, Gyre (also known as The Swirl) unquestionably looks less ‘flashy’ than its neighbours at first glance. In fact, the building features stacked rectangular floors that are rotated on a vertical axis. As a result, a series of terraces emerged and are connected to external stairways and elevators to create a vertical promenade.
Prada building – Designed by Swiss architectural firm and Pritzker Prize winners Herzog & de Meuron, Prada’s flagship store is a five-sided, six-storey building with a transparent glass facade, featuring flat, concave and convex diamond-shaped glass panels.
Coach building – Designed by New York-based OMA in 2013, the firm has designed a glass facade made up of 210 stacked display boxes that run horizontal and vertical to form a herringbone pattern. Inspired by the company’s original, systematic filing retail strategy, the modular shelving units are used to showcase the Coach merchandise.
Top row: Dior building in Ginza; 2nd left & bottom: Mikimoto 2; 2nd right; DE BEERS building
Aside from Omotesando, Ginza is another shopping area where we can spot some interesting contemporary architecture.
Dior building – This white Ginza Dior building was designed by Kumiko Inui in 2004. There are two layers on the facade – an outer one made of steel and punctured with holes which reveals the illuminated inner patterned layer. Lit by LED lighting, the building glows like its Omotesando store at night. A white star, which is Dior’s lucky motif can also be spotted on the top of the building.
DE BEERS building – Designed by Jun Mitsuiin 2008 for the world’s top diamond company’s first Asian store. This curvy building was inspired by the beauty of the female outline. It maximizes light reflection from different directions in different hours of the day, which suggests the shimmering reflection of a high-quality diamond.
Mikimoto Ginza 2 – This conspicuous white building is the ‘jewel’ in Ginza. It is designed by Toyo Ito (see his Tod’s building above) for the famous Japanese pearl company in 2005. The structure of the nine-storey building is made of steel and reinforced concrete, and wrapped in four thin walls to create a tube structural system, leaving the internal spaces column-free. Yet the most unique part of this building is its irregular shaped windows, which makes the building look like a piece of cheese!
Asakusa Culture Tourist Information Center
Located opposite the famous kaminari-mon gate, the Asakusa Culture Tourist Information Center designed by Kengo Kuma & associates opened its doors in 2012, and it was later awarded a Good design award. The unusual 8-storey structure not only serves as a tourist information center, it also has a conference room, multi-purpose hall and an exhibition space.
This Kuma Kengo design was inspired by Japanese traditional houses, and the structure looks as if a series of them are stacked on top of each other. Wood is the material defining the facades and interior, which refers to the traditional Japanese construction but done in a contemporary way.
Top: Mercedes-Benz Connection in Roppongi designed by Kubota Architects & Associates in 2011; 2nd row: Proud Daikanyama Apartments; Bottom row: Daikanyama T-site
Daikanyama is a shopping district full of cool fashion brands. At the end of 2011, TSUTAYA opened a massive books and lifestyle shopping complex Daikanyama T-Site, tailored to customers over 50 years of age. Slotted between large existing trees on the site, the three 2-storey pavilions are arranged to resemble “A Library in the Woods”. The white facades of the pavilions are comprised of interlocking T-shapes that subtly reference the logo. Tokyo’s Klein Dytham Architecture won an award at the World Architecture Festival for this relatively low-budget but stylish site.
Cool contemporary architecture can be spotted all over the city
Vertical gardens are especially popular in Tokyo
Architecture from the 1990s
Philippe Starck’s Asahi beer hall
One of the most iconic and controversial buildings in Tokyo must be the Asahi beer hall designed by Philippe Starck in 1990. The building was designed to resemble the shape of a beer glass, with an enormous gold flame at the top. Not surprisingly, this flashy building has never been fully appreciated by the local Japanese and they gave it an appropriate nickname: The Golden Poo (O Gon No Unko).
Top row: Tokyo Big Sight designed by AXS Satow in 1996; 2nd to 4th rows: Tokyo Metropolitan theatre designed by Yoshinobu Ashihara in 1990; 5th row: The University Art Museum in Ueno opened in 1999
