#photograph journey kanagawa

[yuzurujenn]

[2024.07.03] Figure Skating Magazine 2023-2024 (BBMOOK 1649) - PHOTO STORY

SKATE & JOURNEY

Depicting the "joy" and "pain" of the heart

Feb 19, 2024, Kanagawa - Pia Arena MM Text/Ryosuke Menju

Photographers were saying that "Ashura-chan" was great, but I was immersed in "Chicken, Snake, and Pig". Every expression and every muscle movement could be conveyed to the audience more deeply than during the competition.

For me, this was the first time I have photographed an ice show again after a long time. The last time I saw Yuzuru Hanyu perform was about 9 months ago. I came to the venue and met several figure skating photographers after a long absence. I often met Kogaito when shooting football games, but this was the first time I have seen Yaguchi since last year's FaOI. "Menju-san! I miss you so much!" He couldn't help but gave me a big hug (laughs).

I cleared all my thoughts and went to watch the performance without any prior preparation, but I saw Yuzuru Hanyu's "inner world", and the overall composition was also quite good. Integrating the game world he loves into the whole performance, the word "PLAY" became "PRAY". This was probably one of the points he wanted to express.

The performance lasted two and a half hours and included 12 programs. I was shocked again! God... two and a half hours... this is unthinkable in common sense. But Yuzuru Hanyu managed to do it all by himself. Seeing that scene with my own eyes, I was at a loss for words and could only say "It's really amazing".

I focused on every move of Yuzuru Hanyu and was deeply attracted by him. The flexibility and expressiveness of his body. He was restricted in his movements during competitions, but he was completely freed after becoming a professional skater. The “free Yuzuru Hanyu" is so amazing! Yuzuru Hanyu is constantly improving and getting better and better.

In terms of physique, he has become stronger or more solid, especially his abdominal muscles which are well trained. Speaking of the "atmosphere" at the scene, I think this atmosphere has already been formed in the venue. Fans' expectations for Yuzuru Hanyu remained unabated, whether in competitions or ice performances. This was reflected in the six-minute practice for "The Messenger of Destruction".

There were more young people in the venue, and it seemed that many were from China and South Korea. It goes without saying that everyone came just to see Yuzuru Hanyu. Indeed, this atmosphere must have been comfortable for Hanyu himself. In previous performances, there seemed to be strict requirements for "wearing masks", but this trend has waned now. Although many people still wore masks, many people took off their masks and sat in the audience. Seeing the expressions of the audience, Hanyu must have felt that the emotional transmission was more direct.

After the main performance, Hanyu returned to the backstage. After a while, he came out again for the encore, "Let Me Entertain You" followed by "SEIMEI" and "Introduction and Rondo", which was a time of great happiness for fans.

Hanyu was just like an artist performing a "live performance"! At concerts, singers usually perform songs from their latest albums, and for the encore, they sing popular songs at the moment. "I was like that when this song was popular." Fans must have such memories. On this day in Yokohama, these memories and emotions with these “songs” gushed out like a spring.

Seeing the enthusiastic atmosphere of the audience during the encore, I thought, "Maybe Hanyu can keep skating like this."

But looking at him, I also worry about whether he will continue to communicate with his "heart" to create works in the future? Hanyu is almost 30 years old, and I understand his desire to portray the delicate parts of the human "heart", but it is undoubtedly a "tough" job. Can Hanyu perform with a more relaxed mindset? This thought suddenly occurred to me when I looked at the audience seats where the fans were still lingering around.

2. The Starry Sky of Rifu in March

Mar 8, 2024, Sekisui Heim Super Arena Text/Ryosuke Menju

Although indoors, it feels like being under the "starry sky". In the eyes of Hanyu, he clearly sees one star after another.

The Notte Stellata venue is located in Sendai Rifu Town, Sendai, just like last year. It is a bit far from the center of Sendai, and most of the fans who came to see the ice show took the shuttle bus. I flew from Osaka to Sendai Airport, then took the train and then a taxi to the venue. From the flight to Sendai Airport, you can see the scene of "Oh, those are fans going to notte stellata" everywhere.

Last year's collaboration with gymnast Kohei Uchimura caused a lot of discussion. I thought, "What kind of ice show is notte stellata?" "What kind of program will Hanyu present?" These were unknown before arriving at the ice rink. This year is the second time it has been held, and the audience has a deeper understanding of Hanyu's thoughts. This time, he worked with Ms. Daichi Mao, but the performance of "notte stellata" was the most impressive in my heart. Hanyu's posture was soft and smooth, and every movement made people think of the "starry sky". His eyes were mostly upwards. After becoming a professional, people tend to be attracted by new things, but the "notte stellata" on this day was particularly attractive. In

March 2011, an earthquake occurred, and as a victim, Hanyu experienced many difficult times. Everyone who suffered from the earthquake was full of anxiety about the future life, "What will life become from now on?" This anxiety has never dissipated. Despite this, from the spring of 2011 to today in 2024, the "starry sky" has always protected everyone. Notte stellata first conveyed this emotion, and created an atmosphere of "the performance is about to begin" with "notte stellata" as the opening. As the feeling gradually deepened in the quiet venue, the audience naturally immersed themselves in the performance more easily.

Last year was the first time it was held, and people might have wondered "What kind of performance is this", and it was also the first year of Hanyu's professional career change. Everyone is busy following his footsteps, but he decided to hold notte stellata again because it has a "special meaning" in his heart. Think about it, notte stellata is the only event held two years in a row. As a witness to the earthquake, it is for this reason that Hanyu feels that "there is something he can do" and then takes action to do it. I think this event will continue in the future. Compared to Sendai, it takes more "spirit" to go to Rifu. But holding an event here itself has a profound meaning. On the way back, Rifu in March was shrouded in the night sky, and those who came to the scene will surely deeply understand its meaning.

3. Awakening as a performer

May 24, 2024, Chiba - Makuhari Text/Ryosuke Menju

Everyone present was attracted by "Danny Boy". Hanyu's emotions on the ice were clearly visible. 

In late May, as usual, I took the Shinkansen to Tokyo, then transferred to the Keiyo Line and arrived at Kaihimmakuhari, sighing in my mind, “This year’s summer has begun again.” The shooting location at FaOI this time was particularly good, and the shooting position on the short side in front was unexpectedly vacant. Thanks to this, I was able to take some very stunning photos.

After Hanyu's magnificent opening, he performed the first program at the end of the first half. This was the second time I have seen him perform "Danny Boy", after the last time at Notte Stellata in March. It's a gentle melody and a familiar tune often used in television commercials.

The performance was really great. Hanyu was wearing a white outfit that showed the innocence of a boy, and his expressiveness was really amazing as he paid attention to every detail. Hanyu focused on "artistry" in his performance skills. As there was no longer "win or lose" based on scores, he now puts all his energy and thoughts into "performance". Watching the performance, I also deeply felt the enthusiasm and motivation of Hanyu. Each performance had its own theme, and I felt the "awareness" of the performer. The "emotion" in every of his movement. I was so entranced that I forgot to breathe and felt like I was being "carried away".

Finale was also wonderful. He must have done a lot of muscle training for the "arm" under the sleeveless clothes, and there seemed to be nothing superfluous about his body and movements. At the end, they stood in a line to thank the artists. It was rare to see Hanyu looking very tired. He must have exhausted his last bit of strength, and it was really remarkable that he could persist to that extent.

At this point, the second year of Hanyu's career has completed.

Through all these practices, he probably figured out what he “really wants to do” and what “he should try to do next year.” Although it's just speculation, I think he will really start to think about spending two and a half hours or three hours to perform the performance that Yuzuru Hanyu wants to do - I have this feeling. To be honest, I think the goal that Yuzuru Hanyu is pursuing "may be beyond our understanding." My job title is "sports news photographer," but Hanyu seems to want to go in a different direction. I've started to feel this way recently.

So what does editor Mr. Y think?

"Hanyu's path to growth is full of infinite possibilities. If he decides to try new challenges in his only life, shouldn't we, as people who have been following him, support him?" (Editor Y)

I completely agree with this view. I choose to support Hanyu 100%! But frankly speaking, I feel a little lonely. However, I would like to support him with a hundred times more enthusiasm. This is my sincere words. Maybe in half a year, I will still be sitting by the ice rink like before, thinking about "how to start serializing in the magazine". But no one can predict the future, and that's why life is interesting.

A bright future is definitely waiting for Hanyu, and there are fans who will continue to support him. I hope he can firmly believe in the path he has chosen and move forward.

FS Magazine Press Conference Excerpts

Takagi: Notte Stellata was the first performance of Danny Boy at that time, and Kogaito-san, who watched the show in Miyagi at that time, said, "This show can be ranked in my top three." As a result, the music producer of the TV station directly told Hanyu-san, "Kogaito-san said this show is in his top three (favourite shows)" (laughs).

Kogaito: At that time, there were only me, the producer, and Takagi-san present. I never thought that what we said in private would reach Hanyu's ears (laughs). In addition, I have to correct it. Although I said impulsively "they can be ranked in the top three of my favourites", but when it comes down to it, "One of them is Chopin, and the other one...", I really can't decide. So I want to change it to "they can be ranked in the top two of my favourites."

Yamaguchi: What was Hanyu-san's expression when he heard it?

Kogaito: I didn’t see his expression. To be honest, I felt very embarrassed (laughs). And what if he thought I was arrogant and conceited after hearing what I said? I was very anxious about this for a while.

Yoshida: Hahaha (laughs).

Kogaito: Can I also talk about my own personal memories of the PyeongChang Olympics? That was the day when Hanyu won the gold medal. The stadium was very far away from the medal ceremony square. Normally, it would take about 40 minutes to drive there. But since figure skating ended at noon, there was plenty of time. However, when I got in a taxi to the medal ceremony square, there was a huge traffic jam on the highway...

Yamaguchi: Now that you mention it, I remember that day, the wind was particularly strong. I waited and waited, but you still didn’t get to the medal ceremony square. I have this impression.

Kogaito: Then it was almost time. When I got off the highway, I thought, "I might as well run", and I got out of the taxi and ran directly to the medal ceremony square. “I could run over there, probably in this direction”—that was all I knew. At that time, I could see the “Olympic flame” from a distance. From there, I carried a 20kg camera bag and ran towards the Olympic flame while chanting “Hanyu’s gold medal” “Hanyu’s gold medal” …

Takagi & Yoshida: Hahaha (laughing until tears).

Kogaito: I ran as hard as I could for 30 minutes, and I finally caught up!

Takagi: The “picture” of him on the podium is great.

Yoshida: Ah, it’s the picture of Hanyu-san jumping on the podium.

Source: https://weibo.com/2919885090/OnviUnSb6 / https://weibo.com/2919885090/OnSbppc9w / https://weibo.com/2919885090/OnpAnmlws / https://weibo.com/1746783312/OpuSzlec8

Info: https://www.bbm-japan.com/article/detail/52774?page=1

[arsyirachie]

Photograph Journey ~Hiroshima & Kanagawa Hen~ English Translation

Note :

english wasn't my main language, and me also still studying Japanese...

Therefore, please kindly understand that this translation might not that accurate^^

Chapter : Hiroshima Route Prologue / Opening -part 1-

If I take a look at the calendar, it's almost the end of summer....

Even so, the heat still as hot as in the middle of summer.

One day, my condition wasn't quite good that I need to stay on bed.

I got a fever since last night, and I didn't leave my futon until this morning.

Haruho :

*Cough cough*

Richard :

"Are you okay?"

Haruho :

"Mm.... It's alright. Also, I'm sorry...."

Richard :

"Why are you apologizing? Sick person didn't need to apologize at all"

Haruho :

"But.... I've been causing Richard too much trouble since yesterday...."

Richard :

"Hey! hey! Don't get in low spirit and putting your face down like that, that's no good y'know~"

"I know that having strong sense of responsibility is one of your good traits, even so, at least when you're sick, please be more dependant on people around you"

Haruho :

"...yes. Thank you, Richard"

Richard :

"It's nothing!"

"If there's anything I can help you with, please tell me, okay? I'll do anything!

Haruho :

"Okay"

Richard is always kind to me who is having cough.

Talking about Richard.... Actually, he is a foreigner who are currently living in homestay in my house. He come from English.

Since long ago, my dad and Richard's dad has been close friends...

And so, when Richard come to Japan, it's decided that he will stay here.

He is a gentle person, or you can say he's very kind and polite.

Since he like Japan very much, he always brimming with curiosity.

He really want to know about anything related to Japanese.

He kinda like a full spirit brother to me.

Richard :

"It's about the time you should eat something, I'll go and made some porridge first."

Haruho :

"Thank you. But, Richard... You can make a porridge?"

Richard :

"Of course! Yesterday your mom taught me how to make it!"

Haruho :

"Is that so.... Then, I'll be in your care"

Richard :

"Understood!"

After smiling at me, Richard went to the kitchen and disappear from my sights.

Richard is always enthusiastically nursing me.

Whenever I opened my eyes after having a nightmare, he is always besides me. Thanks to that, I can feel a bit relaxed even after having a nightmare.

*Sighs*

But still... Getting sick is really....

My body feel hot and sluggish.

I feel like a in daze, having my head absent-mindedly.

That's why, when I'm alone in the room, the silence will immediately permeate.

If I'm alone, im sure it will be lonely as I need to take care of myself alone. I'm glad Richard is here....

Talking about that....

As my minds in a daze, I recalled about some memories of the past.

(at that time... When I were feeling anxious, there was a boy who filled my empty heart)

As I closed my eyes, from a long long buried memories, his figure comes to mind.

(what a nostalgic feeling.... Ah, no...)

I can recalled it vividly, as if our last meeting wasn't long ago, but happened just recently.

But, the boy in my mind... He was much younger than the current me.

So many times has passed, but I can't stop thinking about it.

---Ah, that's right.

Whenever I feel sick and lonely, it always made me recalled about those days.

Those days... When I were still a little girl---

.

.

.

Back then when I still 6th grade on elementary school, I lived in Hiroshima.

The me at that time, she were more shy person compared to my current self.

I were transferred into different schools so many times due to my parents job. On the other side, I'm also not good at making friends, thus I don't have many friends.

What worse, during the time when I moved to Hiroshima, my condition suddenly worsened.

Eventhough the symptoms weren't that bad, i had to be hospitalized for a while.

After finally getting closer with my classmates, but now I couldn't meet them.

Being hospitalized alone, it was so lonely for me who were still elementary schoolers.

Haruho :

"Umm, Mom.... I beg you, please come to visit me everyday, okay?"

Asking something like that, I just want to be spoiled by my mother after being hospitalized.

But, since my mother is very busy, she couldn't keep thinking about me only

After being hospitalized, she always visiting me everyday fo a while, but...

Mom :

"I'm sorry, Haruho. Tommorow mom have a lot of works to do, so I might not be able to come visit you. But, mom will surely come to visit you again"

Haruho :

"But, Mom...."

Mom :

"Mom really sorry.... But, you are a good girl right? I'm sure you will be okay"

Haruho :

"....yes...."

Since mom said something like that, it can't be helped.

(Even if mom not coming and I alone here, I must stay obedient)

(Because I am a 'good girl' after all)

I keep telling that to myself and secluded myself inside that sick room.

Because it was quite scary for my little self to wandering out alone in hospital.

But, as I spent day by day alone, gradually i started to enjoy having time for myself.

Haruho :

"I already finished reading all the books that mom brought for me"

(should I try to ask mom to buy me some new books when she coming here? Just right in the moment there's a book that I want to read...)

(but hey... Now that I take a look to the outside...)

"The weather outside seems nice..."

"Hmm... Should I go out for a little bit...?"

Just like that, I try to encouraged myself.

That day, for the first time, I went out from my sick room.

(Ah---- so this is what's outside the hospital building....)

(What a beautiful garden. There are plenty of flowers in bloom)

(...eh?)

As I walking around the garden, I caught a figure of small animal hiding behind some plants.

(Ah! There's a cat here!)

Haruho :

"Come kitty, come here..."

As I try to approach it slowly, the cat suddenly ran off.

Haruho :

"Ah, Mr cat, wait---"

I try cat chase that ran away cat.

As I trying to run with all my might, finally I am able to catch up the cat.

Haruho :

"It's okay Mr. Cat. I won't do anything bad to you."

As I try to reach out my palm, the cat seems a bit hesitant. But, after a while, finally the cat come closer and begin to lick my hand.

(Eh? He licked my hand)

"Hehe... He's so cute"

As I crouching down and hold the cat, at that time....

Haruho :

".. .?"

I can see the tip of someone's shoes.

(Who...?)

Just like that, I try to raised my head.

???

"What a cute cat..."

Haruho

"...y-yes."

There, standing a figure of a boy with somewhat fragile atmosphere.

//Continue to part 2🎉🎉//

[architectnews]

Japan Pavilion Venice Biennale 2021

Japan Pavilion Venice Biennale 2021 Event, Kadowaki Kozo Architecture Design Exhibition Italy

Japan Pavilion Venice Biennale 2021 News

12 May 2021

La Biennale di Venezia 2021 – The Japan Pavilion

The Japan Pavilion at the 17th International Architecture Exhibition

Axonometric drawing of the concept: picture © DDAA + village

May 11, 2021

La Biennale di Venezia

Co-ownership of Action: Trajectories of Elements

The Japan Pavilion at the 17th International Architecture Exhibition, La Biennale di Venezia presents “Co-ownership of Action: Trajectories of Elements,” curated by Kadowaki Kozo. The project involves dismantling an old wooden house into its individual parts and elements, transporting them to Venice, and reconstructing the house in a new configuration with the addition of modern materials (such as scaffolding pipe, mesh, and blue tarps). The architects working on the project are collaborating with artisans and researchers to include improvisation and creative processes on site as part of the exhibition.

The issue of incessant mass consumption in contemporary society has been further intensified by movement, the ability to move large volumes of things quickly and inexpensively. Moving a postwar house that has outlived its usefulness in Japan to Venice and exhibiting it in a different context gives a completely new existence to the old materials that had once been part of a very ordinary house. By shifting the focus from movement for the purpose of consumption to movement for the purpose of reconstruction, the exhibition provides a significant stimulus for thinking about the issues associated with mass consumption, about the sustainability of architecture, and about how new architecture should be approached.

Basic information Title｜Co-ownership of Action: Trajectories of Elements Commissioner | The Japan Foundation (JF) Curator | Kozo Kadowaki Participants | Architects: Jo Nagasaka / Ryoko Iwase / Toshikatsu Kiuchi / Taichi Sunayama / Daisuke Motogi Designer: Rikako Nagashima Collaborators | Researchers: Norimasa Aoyagi / Aya Hiwatashi / Naoyuki Matsumoto / Tetsu Makino / Building System Design Laboratory at Meiji University (Kozo Kadowaki, Makoto Isono, Kimihito Ito) Editor | Jiro Iio Advisor | Kayoko Ota Photo | Jan Vranovský Video | Hirofumi Nakamoto Exhibition Design | Schemata Architects (Jo Nagasaka, Sanako Osawa , Yuhei Yagi) / Studio IWASE | Architecture+Landscape (Ryoko Iwase, Kaoru Endo, Musashi Makiyama) / sunayama studio+Toshikatsu Kiuchi Architect (Taichi Sunayama, Toshikatsu Kiuchi, Risako Okuizumi, Takuma Shiozaki, Kei Machida, Zu Architects) / DDAA (D aisuke Motogi, Riku Murai) Graphic Design | village® (Rikako Nagashima, Kohei Kawaminami, Hiroyuki Inada) Structural Engineering | TECTONICA (Yoshinori Suzuki, Kakeru Tsuruta) / Mitsuhiro Kanada Studio at Tokyo University of the

Arts (Mitsuhiro Kanada) / yasuhirokaneda STRUCTURE (Yasuhiro Kaneda) Exhibition Construction | TANK (Naritake Fukumoto, Ai Noguchi, Takashi Arai) / Takahiro Kai / Tsuguhiro Komazaki / Takashi Takamoto / Masayasu Fujiwara / Mauro Pasqualin / Pieter Jurriaanse / Paolo Giabardo / Valentino Pascolo / Jacopo David / Tommaso Rampazzo Fabrication Cooperation｜So Sugita Lab at Hiroshima Institute of Technology Local Coordinator | Harumi Muto Exhibition Design Management | associates (Kozo Kadowaki, Akiko Kadowaki) With special support of: Ishibashi Foundation Sponsored by: Stroog Inc. / JINS Holdings Inc. / Suikoukai Medical Corporation, Japan / KAMAWANU CO., LTD. / Window Research Institute In cooperation with: under design Co., Ltd. / IWASAKI ELECTRIC CO., LTD. / NBC Meshtec Inc. / KUMONOS Corporation / DAIKO ELECTRIC CO., LTD. / Japan 3D Printer Co., Ltd HAGIHARA INDUSTRIES INC. / Rotho Blaas Venue | The Japan Pavilion at the Giardini (Padiglione Giappone, Giardini della Biennale, Castello 1260, 30122 Venezia) Exhibition period | 22 May to 21 November, 2021 Pre-opening｜20 and 21 May, 2021 Website | https://vba2020.jp/

About the Commissioner The Japan Foundation is Japan’s only institution dedicated to carrying out comprehensive international cultural exchange programs throughout the world. The Japan Foundation was established in October 1972 as a special legal entity supervised by the Ministry of Foreign Affairs. In October 2003, it was reorganized as an incorporated administrative agency. The Japan Foundation has a 25 overseas offices in 24 countries, to cultivate friendship and ties between Japan and the world, the Japan Foundation creates global opportunities to foster friendship, trust, and mutual understanding through culture, language, and dialogue.

Curator’s statement Your actions are not yours alone. Any act, however trivial, sits atop an accumulation of countless acts that arose from your interactions with someone else. Therefore it can never be said that what you do belongs solely to you.

This exhibition consists of an extremely ordinary Japanese wooden house. A country at the forefront of the world in population decline, Japan is awash in houses that have outlived their usefulness and sit there awaiting demolition. The house we shipped to Venice is one of them.

However, the house did not arrive in Venice intact. Having been dismantled to fit into containers for shipping, its various elements found new uses, repurposed into objects and structures appropriate for the garden of the Japan Pavilion, with roof elements being converted into benches, and so on. To reassemble the fragmented house on site into diverse configurations, the architects have engaged the skills and ideas of local and Japanese artisans, giving new life to each of the elements.

Elements that were not used in the garden are on display inside the Pavilion itself, which serves as a warehouse for the project. After its initial construction, the house underwent numerous renovations and expansions over the years that altered it in complex ways. Arranging its elements by era thus provides a clear picture of how the house contains the strata of successive periods in the history of postwar Japanese housing. For example, the earliest elements were primarily handmade, but as time progressed these were replaced by mass-produced members, a visible manifestation of the dramatic changes that took place in Japan’s construction industry over the course of the life of the house.

Upon viewing this thick accumulation of strata with one’s own eyes, it should be evident that the project architects have done only the slightest overwriting of that history. The trajectory that the house has taken in its long journey through time and space to arrive at this place is proof of how our actions are ineluctably rooted in the past and linked to the future. Kadowaki Kozo

About the Curator

Kozo Kadowaki

Kozo Kadowaki (b.1977, Kanagawa) is an architect and architectural theorist who holds a Ph.D. in Engineering. He is an Associate Professor at Meiji University, and practices architecture with his firm Associates. He graduated with a Masters from Tokyo Metropolitan University in 2001, where he also worked as a Research Associate and later as Assistant Professor. In 2012 he established his own architectural firm Associates. He currently serves as Editorial Chair of the Meiji University Press, with teaching positions at Tokyo University of the Arts and Japan Women’s University. While specializing in building systems design, he continues to engage in various activities and projects related to architectural criticism and design. He also works to develop his own architectural theories that are rooted in the physical elements of architecture.

Pre-opening

In advance of being opened to the general public, private viewings at the 17th International Architecture Exhibition will be held for people involved in the event and the press on Thursday, May 20 and Friday, May 21, 2021. There are currently no plans to hold an opening reception at the Japan Pavilion.

Japan Pavilion official website https://ift.tt/2SLUwy0

Japan Pavilion at the 17th International Architecture Exhibition – La Biennale di Venezia Co-ownership of Action: Trajectories of Elements

Updates

When the exhibition was delayed for a year as a result of the Covid-19 pandemic, curator Kozo Kadowaki and others launched a new curator-organized project associated with the Japan Pavilion exhibition.

The aim was to 1) make good use of materials and elements after the Biennale, and 2) provide new ways for people to participate in the exhibition. This was achieved through an upcycle project to create products using materials such as wood from the house being transported to Venice, making the products available to project supporters through a crowdfunding process that facilitated a new way of participating in the exhibition and the addition of new trajectories.

After the exhibition, the house will move on again. There are plans in motion for it to be used as part of a community facility for residents of an apartment complex in the suburbs of Oslo. Funds raised by crowdfunding will also play a significant part in this and other post-Biennale initiatives.

The crowdfunding process was launched on August 11, 2020, and closed on October 1, 2020 after raising 4,825,888 yen from 259 supporters. Find out more: https://ift.tt/3vXN1SU

Outline of the 17th International Architecture Exhibition – La Biennale di Venezia

Dates: May 22 (Sat) – November 21 (Sun), 2021 10:00~18:00 Closed on Mondays Tickets: Regular 25 euro Venues: Giardini di Castello, Arsenale, and various other venues Director: Hashim Sarkis Theme: How will we live together? Official Website: https://ift.tt/3tKYsM1

Awards

At the 13th(2012) International Architecture Exhibition – La Biennale di Venezia [Golden Lion for National Participation] Japan Pavilion Commissioner: Toyo Ito, Exhibitors: Kumiko Inui, Sou Fujimoto, Akihisa Hirata (Architects), Naoya Hatakeyama (Photographer) At the 15th(2016) International Architecture Exhibition – La Biennale di Venezia [Special Mention] Japan Pavilion Curator: Yoshiyuki Yamana, Exhibitors: Seiichi Hishikawa, mnm (Mio Tsuneyama), Osamu Nishida+Erika Nakagawa (Osamu Nishida, Erika Nakagawa), Naruse Inokuma Architects (Jun Inokuma, Yuri Naruse), Naka Architects’ Studio (Toshiharu Naka, Yuri Uno), Nousaku Architects (Fuminori Nousaku, Junpei Nousaku), miCo. (Mizuki Imamura, Isao Shinohara), Levi Architecture (Jun Nakagawa), Shingo Masuda+Katsuhisa Otsubo Architects (Shingo Masuda, Katsuhisa Otsubo), Koji Aoki Architects (Koji Aoki), 403architecture [dajiba] (Takuma Tsuji, Takeshi Hashimoto, Toru Yada), BUS (Satoru Ito, Kosuke Bando, Issei Suma), dot architects (Toshikatsu Ienari, Takeshi Shakushiro, Wataru Doi) Japan Pavilion archive website (June 1, 2021~) https://ift.tt/3eGp4cZ Supplementary materials: 2

Japan Pavilion Venice Biennale 2021 images / information received 120521

Location: Giardini della Biennale, Castello 1260, 30122 Venezia, Italia

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Young Talent Architecture Award 2020 picture Courtesy Fundació Mies van der Rohe Young Talent Architecture Award 2020

La Biennale di Venezia Pavilion of Slovenia 2021 photo Courtesy of Božidar Jakac Art Museum, Kostanjevica na Krki (photo: Lado Smrekar) Venice Biennale Slovenia Pavilion 2021

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Vatican Pavilion at the Venice Architecture Biennale Architects: Foster + Partners image courtesy of architects Vatican Pavilion at the Venice Architecture Biennale

Venice Biennale Korean Pavilion 2018 by KECC image © N.E.E.D. Architecture, Sungwoo Kim (N.E.E.D. Architecture) Venice Biennale Korean Pavilion 2018

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[chadhirata]

Reunited with an important piece of my #heart. A way to journey safely to #hope and #healing after opening Pandora's box. 💌 #piano @yamahamusicusa "Leaving Terra... if you're a thought you will want me to think you - and I did." @toriamos #scarletswalk "...through the violets... you're free to leave" 🌺 https://youtu.be/aEdmOqMaAt4 #justliftyourlamp #toriamos #song #lyrics #music #mood #inspiration #portrait #photography #love #expression #photographer #musician #art #create #life #earth #energy and #dashintothether "...what do you plan to do with all your stories?" 👣🌎 (at Sagamihara-shi, Kanagawa, Japan)

[class-of-its-own]

HOW TO MEET SATAN AND GODDESS AND TRAVEL AROUND A WORLD WITHOUT DRUGS

How did this happen? My mind has been kidnapped to trip around the world trip, playing football on the sandy, hot Mozambiquean beach, meeting locals on Kerala spice market, learning to fight with Japanese samurais and being seduced by other worldly, phantom of a ghost with only problem is that I couldn’t get to Rio beach dancing capoeira on time.

I am tripping, yes. No drugs are involved, so far what know, or maybe the incense has something to do with my sudden visions of the red eyed bull in front of me. Just pure consciousness and being present. I am somewhere else, yet more present than ever and my journey is well guided and led by Master Bo and earlier McKinsey kick-ass corporate consultant, now modern day priestess Tina to have these strange sensations fed to my subconsciousness.

Copenhagen North West is known to be the only option for normal people to own a proper size apartment or a small house that doesn’t make to you cry in front of your worried bank advisor in one of the most expensive cities in Northern Europe. It was a shitty neighborhood and now getting bronxed or gentrified or whatever it is called when artists, young couples with means and in search of edgy, yet hidden small bourgouise life with small exciting twist that comes from seeing guys wearing long pretty hairs and pretty girls wearing ugly, architect designed, square clothes, red brick apartment buildings, and old factories being the hazy backdop of your Creative Life. Copenhagen North West is the shit. This is where the young can be free and the old creatives choose to become or stay nut bolts. It is a wonderful world with exciting voices from the rustic cafes and it smells of freedom to be yourself or forget yourself with others.

I want to forget my headache. Not that I have often headache, but I needed a break from my constant idea generation and forced learning to become the fucking next legendary author and portrait photographer. My ego was consuming me and I needed desperately to get back to my own core and just like when I was losing my hope to become cured before holidays, I opened my Facebook to see Tina Isranis event the same night. The first thing I read is that Tina is a modern day priestess. Her title is bollsy, exotic, appropriately sacred, otherworldly and vaguely erotic to awake me from my pre-coffee morning slump. I sign up for what is called Soundbathing. I have never heard of Soundbathing, only having a glimpses of an idea about forest bathing after reading an article about this fascinating act going in to forest and becoming part of it. It was crazy enough, exotic enough and cheap enough for me to jump in what I was told to be a part ritual and part healing.

I enter the building in Northwest CPH what used to be a furniture factory, now brimming with forty or so creative small enterprises with creative names ending with Design, Radio, Photography, Psychologist, Records or School. It is a huge gated complex of a building and it takes me for a while to find my way to the room. The room is already full of surprisingly healthy, lean and harmonious looking people. It is a homogenous group of people with excess of thoughts and desire to forget the past and future and get closer to what ever they think they really are. We are advised to lay down on a thin mattress, which we have plenty and I close my eyes.

Bo tells the main act “We will take you first high and then grounded” We are surrounded by so many exotic looking instruments and tools that I find it hard not guess their function and sounds. My mind is busy and preoccupied. One of the biggest, rippled, hammered Gongs is called “Lion’s Roar, and we use it to create earthy deep sounds, like those when Earth was created, lava bursts” I am intrigued to hear the earth creation in action and while I am lying down with my eyes closed Bo starts his ceremony with something that sounds like thousands of crabs on a beach crawling around in pleasant and polite manner. My mind is fighting against the sensation, not letting me absorb the rattle in full and I am slightly disappointed and decide to make an effort to NOT to think.

A cow with fully alive head, but with rest of the body consisting only of a naked skeleton is in front of me. I am fucked up, fried, toasted, wasted and tripping and I cannot resist tripping on, but forcing turns the peaceful skeleton cow into a red eyed bull, staring me furiously with the big, sharp horns pointing at me, and then the sounds change to something that resembles a huge ocean just washing everything off in a Japanese tsunami style, in full color and motion passing the Great Wave of Kanagawa, alive painting, now in my head part of the Soundbath journey, just to be disturbed by my neighbor snoring. I poke him gently, Christoffer opening his eyes in most spaced out manner, having the widest, the most relaxed smile on his face. He looks goofy and he is definitely tripping like it was 1967 and we were in San Francisco Haight-Asbury park enjoying Summer of Love. Great! We are all tripping in our own ways it seems. Some are in deep mediation, one is sobbing quietly and strangely enough, pleasantly, and few are just laying down in relaxed foster position.

I let the sounds, now oddly animalistc, enter my body and I see soon visions of elephants trumpeting very far away, threatening to attack, just to find a wounded tiger in a deep, deep cave. I am in deep fascinating trance alike space, and then Tina uses one of the Gongs to send me a white lightning trough my head and to my surprise and pride the flash stays straight in the middle of my head, which now radiates the lightning outside my head and I hear Christoffer to make a confused sound next to me and I start to worry if the flash is only my imagination or if I really can harm people with my new powers that the Priestess Tina had just granted me. Bo tells later on that the sound waves they create are slow and high, so called alpha brain waves. When alpha waves dominate your brain, your brain is said to be 'idling' in that it's awake, relaxed, and ready for whatever task lies ahead. I am relaxed and ready and under Bo’s spell. Call it alpha, beta or incense, I am definitely feeling it.

I feel also my headache moving from the middle of my pan towards the sides of my head. This is the most physical massage I have ever acquainted, and it is done without a touch! And this trip is without a hangover! I am now in India smelling the curry, turmeric, garam masala at the same time, while Bo’s snake rattle makes me sit up. “Just follow your body.” was one of his advises before we left our existence. I am sitting up and without any intention of doing anything than looking out in a spaced manner, but I cannot resist the sounds moving me. I mercifully close my eyes and my body moves in slow waves, I am not thinking anything, I am feeling the sounds to the fullest and I lose the sensation of time. It could have been ten seconds or ten minutes, but I am a hypnotized snake now and Tina is my snake charmer. I move slowly, gently, not thinking how odd, primitive or spiritual the whole dance is. I am fully in my trance, without losing my consciousness. I am aware, but fully IN the experience. I am not even a part of the experience. I AM THE EXPERIENCE. Then I feel something touching back of my head. The instrument Tina had used was so close to me that it tapped me and I am gently let off the trance.

The visions are not over though and I am now in playing football somewhere in Africa, kicking the ball from sandy beach over the mountains to Sahara, being part of a sandstorm blowing me to the west coast of Africa and awaking a yearning in me to get to Brazil to dance to capoeira, but I am the football now, being kicked back to east, to ancient Egypt. I play ball with the Sphinxes and read ancient texts on Pyramid walls and the sounds are changing yet again my vibes. Enter Greece, but not just any boring Greece. The sounds are coming from a wise old, bearded man with a lot to say. But the story is a seductive one, about a woman, a dark ghost, with lot’s of questionable plans in her voice, meeting with her is sensual, like swimming in butter, smooth, silky, crazy, warm and earthy, the enlightened mystery of sensation without nothing to hold on. She is in my head and everywhere, questioning my powers to resists, the satan or the goddess. I cannot decide, and it doesn’t matter. Like Bo says “It is a space with lots of ideas that do not make any sense. Protect it.” It is what it is. It is a dark, mythical and ancient Soundbathing goddess that is messing my head and I am so in it. I am a snake and I am closer to myself. I am next to tigers and elephants and goddesses. I am playing football with Sphinxes and learning the ancient wisdom from Greek philosophers. And my headache is gone.

Your true and loving portraitor,

Max Noble

Next Soundbathing is on the 31st of July and on the 23rd of August Tina Israni the Priestess and Bo Rødding the Master are organizing a whole night Gong Puja (Worship).

[arsyirachie]

Yahoo~

Risu here XD

I've been inactive for quite long~

For now, I'm thinking about translating another otome game, but this time... I'm planning on doing this for the whole route, not only some scenes

And so, I'm gonna post rough translation of Photograph Journey ~Hiroshima & Kanagawa Hen~

As the title said, this series is featuring 2 ML (one from Hiroshima -Sera Karen- , and one from Kanagawa -Yuzurihara Takara-)

This game might be quite old already (2014), but it's one of my favourite.

Also, english wasn't my main language, and me also still studying Japanese...

Therefore, please kindly understand that this translation might not that accurate^^

I'm just doing this for fun~

I can't promise to update every chapter at once, nor when will I update the translation.

But I'll try to make some progress and update everyday~

(This is only introduction post, I'll post the translation later.)

Let's start with little introduction about the game first.

Game information :

Title : Photograph Journey ~Koi Suru Ryokou Hiroshima Hen & Kanagawa Hen~

Original title : Photograph Journey ～恋する旅行・広島編＆神奈川編～

Platform : Windows

Age rating : All ages

Developers : Dengeki Girl's Style & Honeybee

Publishers : Dengeki Girl's Style & Honeybee

Available Characters :

- Sera Karen (Hiroshima Route)

Description

A third-year student of Suzuo Academy Senior High School. Karen is a shy and fragile boy with a weak body. Due to his weak constitution that lead him to being absent from school often, plus his shy nature, he's often on his own. He's good at listening to others but not talking about himself. When Karen is healthy, he enjoys his only hobby- taking pictures while going on a walk.

Haruho met Karen when she was a sixth-grade primary school student. Around that time, Haruho became ill and collapsed, which required her to get hospitalised. When she felt better, she wandered around the hospital courtyard and met Karen. They became friends and swapped books with each other.

[Taken from vndb]

- Yuzurihara Takara (Kanagawa Route)

Description

A third-year student of Oumine Private Middle School. A fashionable, (over)confident boy who loves freedom above all else, and is skilled in language studies. Thanks to his tallness for his age and stylishness, he was scouted by an agent when walking around in town and became a model. Haruho met Takara when she was in her second year of junior high school. Haruho's family had just moved to Kanagawa Prefecture, and reading at her local park became one of her everyday pastimes. There, she met Takara, and gradually, they chatted more and more.

[Taken from vndb]

General summary about Photograph Journey series :

Until she became a high school student, due to the the protagonist’s (Hayama Haruho) father’s job, she had to repeatedly transfer schools. One day, she receives a single letter from a boy she met at one of the many places she had moved to.

Enclosed is a letter and a photograph of him.

Form then onwards, the nostalgic relationship between him and Haruho begins.

Accompanied by Richard, an English boy who loves Japan and is currently home-staying at Haruho’s, she journeys to the place where that boy now lives…

This is a travel romance story that began from a single letter…

Who will you choose to visit?

[taken from vndb]

vndb link :

https://vndb.org/v14700

Official website :

http://www.honeybee-cd.com/p_j/hiroshima-kanagawa/index.html