Tokyo

The Pacific War permanently transformed the political ecology of excrement in the Greater Tokyo area. Since the Edo period (1603–1868), a network of commercial night soil collectors had operated in the city, emptying its latrines for use as fertilizer. Although increasingly subject to strain in the interwar period, the system adapted enough to obviate significant municipal investment in sewer construction. Wartime mobilization and fuel shortages, however, pushed these night soil distribution networks to the breaking point, leading to an ''attack by excrement.'' The municipal government responded to the crisis by mobilizing residents' associations and suburban commuter trains, sidelining commercial collectors in the process. The immediate postwar period further destabilized the old political ecology: a black market in excrement briefly flourished, only to subside with the rapid proliferation of commercial fertilizer. Finally, Occupation government personnel, upon encountering the chaotic postwar night soil trade, expressed contempt for what they viewed as a backward, inherently unhygienic custom. The Tokyo metropolitan government internalized this

Book review of:

"Sengo Nihon no Fuko no Kiroku, GHQ Kameraman Boria ga Totta Nihon no Fukei" (Records of the Reconstruction of Postwar Japan, Japanese Scenes Taken by The GHQ Cameraman Boria). Photographs by Dimitri Boria, Compiled by Yoneyuki Sugita. Okayama: Daigakukyōikushuppan. Vol. 1, pp 143; Vol. 2, pp. 141.

https://japantoday.com/category/features/lifestyle/Colorized-digitally-enhanced-photos-of-postwar-Japan-bring-their-subjects-to-life

Municipal solid waste generation is a rapidly increasing challenge that is leading to severe pollution and environmental degradation in many urban areas of developing countries. Globally, the solid waste sector accounts for 18% of methane emissions and 3e4% of greenhouse gas emissions overall. Waste handling and disposal systems in most large cities have largely been designed with minimal accounting of environmental issues. This study presents the Waste to Energy Recovery Assessment (WERA) framework, a new quantitative decision support model for initial evaluation and alternative comparisons of different thermochemical treatments of municipal wastes. The framework not only accounts for benefits through electricity generation but also accounts for emissions from facilities and the associated social cost of carbon in a cost-benefit assessment. The assessments are conducted with Monte Carlo simulations that explicitly account for uncertain factors such as future composition and generation of solid waste, technical efficiency of treatment processes, capital and operating costs, as well as future policies. The framework is used to study waste-to-energy (WtE) systems for Abu Dhabi, Riyadh, Tokyo and New York. The results show that WtE systems can fulfill only 1.4e3.6% of 2014 electricity demand in the analyzed cases. Furthermore, the net present value for different technologies can be positive if collection fees and electricity rates (potentially set through feed-in-tariff policies) are sufficiently high. The analysis for Abu Dhabi and Riyadh also reveals that in a limited set of conditions (of technology efficiencies, and waste collection rates etc.) the WtE facilities can be self-sustaining investments.

『言語情報科学第13号　2015年3月』本稿は、アジア太平洋戦争直後の東京における戦災復興を考察する。本稿が対象とす るのは、都市計画そのものや政府の政策等ではなく、戦災復興期の東京を描いた二本の 映画である。一つは『20 年後の東京』という東京都都市計画課が作成した PR 映画であり、もう一つは黒澤明が監督した『野良犬』である。
東京の戦災復興計画を宣伝する『20 年後の東京』がその計画の思想を伝える際に用い るレトリックを分析し、その背後にある植民地都市経営の経験とそれを「民主的」という言葉で覆い隠し、計画の正当性を偽装する態度を読み取る。また計画の障害として語 られる闇市を取り上げ、その復興期における役割を評価した上で映画の言説との齟齬を 明らかにする。そして、その闇市を映画の主要な空間として取り込んだ『野良犬』が、 その空間にいかなる役割を担わせているかを主人公の復員兵・村上を通して考察する。
本稿は都市を語る上で帝国主義の過去を忘却しようとする言説に対して、抗う拠点と しての闇市という空間を位置付けることを目的とする。

De manière originale, en suivant les skateurs de Tokyo, cet ouvrage offre une lecture de la ville par ses revers, ses lieux délaissés et ses « temps morts ». Dévoilant des aspects cachés de la vie citadine, le livre propose un regard sur la construction, la diffusion et la consommation des images produites par les skateurs, comme système particulier d’identification à un territoire. Grâce aux compétences qu’ils développent, ces praticiens composent le paysage de Tokyo à leur image. De cet imaginaire partagé, émergent les tactiques qu’ils mettent sur pied, leur permettant d’occuper les lieux et de diffuser leurs prouesses dans des visuels à l’esthétisme codifié. Ainsi, la ville se dévoile avec ses parcs, ses quartiers, ses entre-deux délaissés et laisse apparaître une organisation, entre lieux publics, semi-publics et privés.

Anthropologue social et urbaniste, Julien Glauser est conservateur adjoint au Musée d’ethnographie de Neuchâtel. Spécialiste du Japon, il a soutenu une thèse de doctorat en cotutelle avec l’Institut d’ethnologie de l’Université de Neuchâtel et l’Institut d’urbanisme de l’Université de Paris-Est, intitulée « Revers de Tokyo : images et imaginaires du skateboard. Recherche en anthropologie visuelle. » À côté de son activité de muséologue, il a une charge de cours à l’EPFL et continue ses recherches sur le rôle de l’image comme support à la création de paysages urbains. De plus, il développe une activité de vidéaste et de photographe.

Management bundles that define items or procedures strongly recommended in clinical practice have been used in many guidelines in recent years. Application of these bundles facilitates the adaptation of guidelines and helps improve the prognosis of target diseases. In Tokyo Guidelines 2013 (TG13), we proposed management bundles for acute cholangitis and cholecystitis. Here, in Tokyo Guidelines 2018 (TG18), we redefine the management bundles for acute cholangitis and cholecystitis. Critical parts of the bundles in TG18 include the diagnostic process, severity assessment, transfer of patients if necessary, and therapeutic approach at each time point. Observance of these items and procedures should improve the prognosis of acute cholangitis and cholecystitis. Studies are now needed to evaluate the dissemination of these TG18 bundles and their effectiveness. Free full articles and mobile app of TG18 are available at: http://www.jshbps.jp/modules/en/index.php?content_id=47. Related clini...

Tokyo Metropolis, with some exclusive features such as the experience of land readjustment, high level of technology, great economical centralization, and high density of information, presents a type of complicated, crowded, and instable architecture and city planning. Such a status is a problem for determining the architectural typology and makes it practically hard for introducing the contemporary architecture and the viewpoints concerning it. Understanding the formal types in architecture, makes it possible to gain theoretical and practical ideas and plans for city growth and promotion. The hypothesis of this article declares that among the space and visual instability and the wide variety of architectural forms, there is a special tendency in residential architectural forms in Tokyo that could be studied. To prove the hypothesis, the article's research methodology starts with determining and understanding the uniqueness of Tokyo and influential factors in the city's form...

Resumen

La figura del monstruo puede servir para formar una metáfora sobre la configuración de algunas ciudades contemporáneas y de cómo nos van construyendo. El texto propone reconsiderar la ciudad de
Tokio como un paradigma de diversos miedos y monstruosidades urbanas en diferentes momentos
de su historia. Primero se reconoce una monstruosidad cosmogónica y mitológica, la cual fue, posteriormente, corporeizada en diversos desastres que cambiarían radicalmente la morfología de la urbe. Con una ciudad casi devastada en su totalidad durante la segunda Guerra Mundial, una nueva monstruosidad simulada aparecería, más como ficción, de la mano de los avances tecnológicos y mediáticos, donde el monstruo pasa de ser una figura consumidora a una consumible. Una última monstruosidad urbana se reconoce en la arquitectura más contemporánea, con bases en la arquitectura del grupo de los metabolistas en los años sesenta, la cual durante la postmodernidad devendría en la colección disímbola y mutante de sus partes. El texto busca explicar esta monstruosidad más reciente mediante una analogía con el cuerpo extendido a través de la prótesis y de la posibilidad de mutación continua que le confiere. Al final, se encuentra en la metáfora del monstruo una figura dinámica, capaz de regenerar las diferentes fuerzas que van formando y deformando nuestras ciudades.

Palabras clave: monstruo, monstruosidad, miedo, mito, desastre, distopía, prótesis, híbrido, mutación

Abstract

The monster figure can work to construct a metaphor of the configuration of some contemporaneous
cities and how they are being constructed to us. This paper proposes to reconsider Tokyo as a paradigm of diverse urban fears and monstrosities in different times of history. First, this text recognizes a cosmogonical and mythological monstrosity, which was, subsequently, embodied in different disasters that would utterly change the morphology of the city. With a city devastated almost in its entirety during World War II, a new simulated monstrosity would appear, more like fiction, hand by hand with the technological and media advances where the monster would go from a consumer figure to one consumable. One last urban monstrosity is recognized in the more contemporaneous architecture, based on the Metabolism movement in the sixties, and that during postmodernity would become the discordant and mutant collection of its parts. This text seeks to explain this recent monstrosity, creating an analogy of
the extended body through the prosthesis and the possibility of continuous mutation that it offers. Finally, we find a dynamic figure in the monster metaphor, one capable of regenerating the different forces that form and deform our cities.

Keywords: monster, monstrosity, fear, myth, disaster, dystopia, prothesis, hybrid, mutation

A radical artist in subject matter and in photographic style, Tomatsu Shomei (1930-2012) undoubtedly laid the foundation of modern avant-garde Japanese photography. Throughout Tomatsu Shomei’s extensive photography career, he presented an array of intensely expressive photographs of the influences upon and reaction of the Japanese people to continuous trauma throughout the 20th century. Joining the blossoming post-war Japanese art scene, Tomatsu enforced the importance of photography that departed from conventional realism in the pictorial press. During the 1960s, when some of Tomatsu’s most prolific photos were taken, Tokyo was faced with rampant corruption and instability in social institutions and political powers in the already dark shadow of the war.

Many Japanese workers in lower-paying positions were drawn to the growing trucking sector in the 1950s and 1960s, characterized by contingency and the thrill of risk and reward, in contrast to the stasis of lifetime employment guarantees emerging in other sectors of the economy. Th e gamifi ed reward structure in trucking, however, led to a spike in traffi c accidents and a backlash against "kamikaze trucks." Only after regulations and enforcement limited the most dangerous kinds of incentives did meaningful forms of play emerge at work from the bottom up, rather than the stultifi ed forms imposed by businesses from the top down.

In 2013, with the city’s 2002 urban renaissance policy seemingly having
reached its limit, Tokyo won its bid to stage the 2020 Olympics. he city plan was modified, with Olympic clusters replacing the
special zones of urban redevelopment. However, the highly selective, centrally concentrated nature of urban renaissance and Olympic infrastructure has created a two-tier city, provoking debate over what
David Harvey calls the spatial fix, i.e. the temporary spatial solutions adopted by capitalists to save their assets from a downward spiral in values. his paper will examine the assumed continuity between the 2000s (urban renaissance) and the 2010s (Olympic development)
and discuss the pertinence of the term spatial fix in Tokyo. It will formulate the idea of a trend fix to debate the uneven development associated with the Olympics.

In this article I discuss the ways in which the 2008 film Tokyo Sonata engages with the contrasting emotional and physical geographies of comfortable suburbia and the contemporary reality of socio-cultural despondency. The Sasaki family is the embodiment of the quintessential nuclear family of urban, middle-class Japan. Their world starts unravelling the day the father, Sasaki Ryūhei, is laid off from his middle-management job. Unwilling to reveal this to his family, Ryūhei continues to leave for work each morning dressed in his suit, but spends his days in a park inhabited by homeless men. Ultimately, he finds employment as a cleaner in a shopping mall. Ryūhei's journey from white-collar salaryman to menial worker is set against the backdrop of collective anxiety in the intermeshing physical and emotional ‘scapes’ of recession-era Tokyo. I argue that, at the core, this is an anxiety about the loss of masculine authority in the home and the workplace, and at the level of Japan as a nation. Moreover, it is an anxiety that cannot be fully appreciated without reference to the framing social, cultural, economic and emotional topographies of post-bubble Japan.

This thesis is about the existing mass-transit infrastructure within the city and whether the physical and social consequences of its presence can be changed. Mass-transit infrastructure, whether expanding above, on or under the ground is the skeleton of our modern megapolises and yet, it also has negative effects on the social and physical environment. With the urban population increasing day by day, overcoming those disturbances becomes of the utmost importance for the liveability of our cities.

In the course of examining this problem, this work looks at five sections of inhabited elevated railways located in Tokyo. It suggests that the smart utilization of the space freed under the elevated train tracks tackles some of its nuisances.

Co-authored with Mori Mayumi. This essay introduces the stories of four former residents of a municipal housing complex built in the late 1950s in central Tokyo. In the immediate aftermath of World War II, the interviewees and their families had found shelter in and around an abandoned Imperial Japanese Army base. After moving them into concrete housing blocks in order to hide their settlement prior to Tokyo's hosting of the Olympics in 1964, the city moved them again in preparation for the 2020 Olympics. Their stories reveal the ways that war and defeat left the city's population to fend for themselves, as well as the long tug-of-war that ensued between the interests of settlers and those of the municipal and national governments.

The Metropolis of Manila has poor wastewater management practices which costs the economy around AUD$ 2 Billion per year, results in around a third of all recorded illnesses and has left the rivers biologically dead. However, with a change in wastewater management governance structure in 1997, steady improvements have been realised. Lately, a sewerage system implementation model for river rehabilitation based on a “river basin approach” is being implemented for the first time on a large scale. The implementation is part of a strategy to increase access to sewerage infrastruction, for roughly half of the Manila Metropolis population, from 3% in 1997 to 100% in 2018. The implementation has faced challenges associated with flooding, land availability, above average population growth rates and managing stakeholders. However the bulk of these challenges can be and are being engineered out or managed and the implementation is proceeding.

This paper aims to investigate from a broader point of view as in 1958 the theme of development of Tokyo into the sea by reclaiming lands of her coasts became the occasion for the productions on several projects which witnessed the innovative potentials and the talent of a new generation of architects, such as the members of Metabolist Group and Kenzo Tange, who had a great impact on the further development of the modern Japanese architecture. Those proposals were a mirror of their original vision of the modern city, which was mainly inspired by many cultural and socio-economic factors present at the time in Japan, such as the uncontrolled sprawl of the cities, the radical transformation of Japanese society and the massive alteration of historical urban landscapes due to post-war urbanism and economic growth, as well as the search for a new urban form and design methodology more concerned about the preservation of the natural landscape, and directly linked with the new possibilities offered by ocean engineering and new building technology.

As the contemporary trends of increasing urbanisation - especially the process of forming large urban agglomerations qualified as megacities - accelerates around the world, the quality of environment becomes the major question of urban agenda. At the same time cities face common global challenges.
Tokyo, the largest mega-region in the world, evaluated as one of the most efficient, productive and sustainable global city. The high standards of living and the quality of the urban environment are approved by numerous rankings, complied by leading international experts.
This study analyzes the history of Tokyo`s contemporary urban structure development, based on the urban development activities, competitive urban development strategies and concepts (as an indicator of changes in priorities of urban planning), and data of field surveys. This research identifies four stages of urban development and determines the sequence of developed strategies. This study based on both - real and utopian - city planning projects. Also it defines traditional features of Japanese planning and analyses the concept utopian projects in order to follow the evolution of these significant attributes.
During the course of the second half of twentieth century Tokyo was characterized by rapid urban growth and development, increasing industrialization and urban sprawl that caused an environmental crisis.
After that, Tokyo has been facing new challenges as it left the phase of post-industrial development and entered the phase of new sustainable urbanism, improving the urban quality. In this way Tokyo seems to represent a model of healthy and safe urban structure - Smart City of twenty first century.

The goal of this paper is an examination of how images of Tokyo's street fashion have imprinted on the collective memory of the city, thus forming its reputation as a place where new ideas are created in fashion. To explore this idea I chose the subtheme of space, and examined street fashion images that are specifically linked to real places – in this case the Ginza and Harajuku neighborhoods of Tokyo. The publication of these images can create a bridge, which allows us to experience the real place through subjective imagery and imagination, by affecting our memories and our perceptions of the real place. The images form an alternate or fantasy space, a sort of collage of our memories and expectations of the real place. In order to understand the role of street fashion images in generating these alternate or fantasy spaces, this paper will look at two non-­‐institutional fashion movements, which both appeared in the wake of massive societal changes and have now become part of the world's collective memory of Japan and helped shape the reputation of Tokyo as a city known for innovation in fashion. Japanese documentarians Wajiro Kon and Shoichi Aoki are responsible for the creation of some of the most important images of dress culture in Tokyo. Kon illustrated the

In summer 2010 a small urban park in Tokyo’s iconic Shibuya shopping district became the scene of an occupation that lasted nearly half a year. Homeless citizens, artists, youth activists, unionists, and public intellectuals congregated not only around the physical space of Miyashita Park but also catalyzed heated debates among planning professionals, or social movement schol- ars, in which the nature of public space in urban Japan was broadly discussed (Dimmer 2010, OurPlanet-TV 2010, Nikkei Architecture 2011, Tsukamoto and Nakatani 2011). These intensive debates were fomented by a controversial deal brokered between the Shibuya local government and Nike Japan, who agreed to buy the naming rights for a period of ten years and install rental sports facilities in parts of the park. These plans were leaked to the public only after major deci- sions had been made behind closed doors. The ensuing protests against what the activists called the “Nike-fication of public space” (Ogawa 2012) utilized a new cultural repertoire of protest in which expressive means like graphic design, visual art, and music played a central role.

Istanbul’daki performans sanatlari yapilarinin dunyadaki orneklerle karsilastirildiklari zaman sahip olduklari teknik donanimin yetersiz oldugu gozlemlenmektedir. Ziyaretciler ve sanatcilar tarafindan siklikla dile getirilen bu durum; mimari platformda henuz rekabet gerektirmeyen ve maliyetli yapi turleri olan opera, tiyatro binalari ve konser salonlarinin, Istanbul sehrinde sanatsal etkinliklerin sahnelenecegi mekânlardan cok, kamusal alan, konut veya alisveris merkezi gibi yapilarin insa edilmesi nedeni ile geri planda kalmasindan kaynaklanmaktadir. Muzik ve mekân kavramlarinin tarihsel gelisim sureci ve iliskisi kapsaminda ele alinan bu calismada; Istanbul’daki “muzik mekânlari”nin nasil daha islevsel ve dunya standartlarina yakin bir konuma getirilebilecekleri; Avrupa, Amerika ve ozellikle Japonya’nin baskenti Tokyo’da bulunan sahnelerin / salonlarin genel ozellikleri incelenerek, ulkemizdeki salonlara ornek teskil edecek tasarim kriterlerininin belirlenmesi ve mevcut probleme cozum onerileri sunabilmesi hedeflenmistir. Tokyo ve Istanbul’da incelenen performans sanatlari binalari uzerinden yapilan karsilastirmalar sonrasinda, Istanbul’da bulunan binalarin mekânsal hacimlerinin kapasiteleri ve teknik verilerinin ortalamalarin altinda kaldigi gozler onune serilerek, bu yapi turlerinin insasini arttirarak mekânsal gelisimlerini saglayacak, topluma sanat bilinci katarak insanlari bu yapi turlerini daha sik kullanmaya tesvik edecek oneriler sonuc bolumunde sunulmustur.

The integration of food into urban planning is a crucial and emerging topic. Urban planners, alongside the local and regional authorities that have traditionally been less engaged in food-related issues, are now asked to take a central and active part in understanding the way food is produced, processed, packaged, transported, marketed, consumed, disposed of and recycled in our cities. Despite a growing body of literature on food and cities, the issue of planning cities in such a way they will increase food security and nutrition, not only for the affluent segments of society but primarily for the poor, is much less discussed, and much less informed by practices. This volume intends to fill this gap by putting more than 20 city-based experiences in perspective: Toronto, New York City, Providence and Portland in North America; Cape Town and Ghana in Africa; Milan in Europe; Lima and Belo Horizonte in South America; and, in Asia, Bangkok, Solo and Yogyakarta in Indonesia, and Tokyo.

El presente ensayo analiza la proliferación de una de las categorías más significativas de espacios de uso público en el Japón metropolitano contemporáneo. El texto explora cuándo y por qué el gobierno comenzó a traspasar la producción de espacios públicos a actores privados, y reflexiona sobre cómo se han transforma- do estos espacios en el transcurso de los últimos cuarenta años, pasando de ser «espacios públicos muertos» a convertirse en «escenarios totales de trabajo y es- parcimiento». Resulta interesante observar que la transformación cualitativa de esos relevantes residuos de materia urbana fue, más que el resultado de la presión de la sociedad civil o de los planificadores gubernamentales en pro de la creación de entornos urbanos de alta calidad, el efecto de mecanismos del mercado que identificaron a los espacios públicos como medios importantes para valorizar locaciones específicas.

Kafū is considered to be one of the most prominent chronic of modern Tokyo. This paper is dedicated to the criticism he conveyed in guise of a hymn to old time called "Fukugawa no uta". This novel is addressing explicit criticism of the enlighted rule Emperor Meiji exerted over Japan after his Restauration 1868. The present paper also explores how the phenomenon of nostalgia can be understood as constant in Japanese culture even surfacing in religious concepts. Furthermore, it discusses the development of Japanese folk music offered by blind artists during the modernization of Japan as an expression of nostalgia.