All worldly things are transitory, but is this piece of ancient wisdom still applicable to or even necessary for living in Tokyo? The novelist Banana Yoshiomoto invites us to enter the mindscape of a resident watching her beloved neighborhood undergoing large changes.
All worldly things are transitory, but is this piece of ancient wisdom still applicable to or even necessary for living in Tokyo? The novelist Banana Yoshiomoto invites us to enter the mindscape of a resident watching her beloved neighborhood undergoing large changes.
All worldly things are transitory, but is this piece of ancient wisdom still applicable to or even necessary for living in Tokyo? The novelist Banana Yoshiomoto invites us to enter the mindscape of a resident watching her beloved neighborhood undergoing large changes.
New-generation architect Kumiko Inui seeks to understand truly “lived places” in order to access the power of the ordinary and the real in her own practice. Rather than set up an external model of the unusual and the fictional as her elder “author-type” architects did, Inui photographs and examines thousands of successful, anonymously created spaces to examine why they work.
New-generation architect Kumiko Inui seeks to understand truly “lived places” in order to access the power of the ordinary and the real in her own practice. Rather than set up an external model of the unusual and the fictional as her elder “author-type” architects did, Inui photographs and examines thousands of successful, anonymously created spaces to examine why they work.
New-generation architect Kumiko Inui seeks to understand truly “lived places” in order to access the power of the ordinary and the real in her own practice. Rather than set up an external model of the unusual and the fictional as her elder “author-type” architects did, Inui photographs and examines thousands of successful, anonymously created spaces to examine why they work.
From the thousands of photos taken for the research, Kumiko Inui selected 100 categories of landscapes, which she calls “photographic units,” in which she and her students detect expressiveness. Here is a further selection of four categories.
From the thousands of photos taken for the research, Kumiko Inui selected 100 categories of landscapes, which she calls “photographic units,” in which she and her students detect expressiveness. Here is a further selection of four categories.
From the thousands of photos taken for the research, Kumiko Inui selected 100 categories of landscapes, which she calls “photographic units,” in which she and her students detect expressiveness. Here is a further selection of four categories.
