Housing Japan vol12, 2018

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HOUSING JAPAN VOLUME 12 2018

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PROPERTY HOW WE SOLD THIS TOKYO DREAM APARTMENT

AUTOMOTIVE A LOOK AT ASTON MARTIN'S PLANS IN JAPAN

INTERVIEW EXCLUSIVE INTERVIEW WITH PRIYAKNA YOSHIKAWA

LIFESTYLE THE UNIQUE GETAWAYS OF THE RYOKAN COLLECTION

RETAIL THE HISTORY & HERITAGE OF MITSUKOSHI

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DIVE INTO YOUR NEW

TOKYO LIFE You’ll find friendships, enriching experiences and a place to call home.

Celebrating life in a remarkable city Contact us today to discuss our new membership option.

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03-4588-0687 | membership@tac-club.org | tokyoamericanclub.org/join

Housing Japan Spring 2018

VOLUME 12 SPRING, 2018

Housing Japan Magazine ROBIN SAKAI EDITORIAL & DESIGN PUBLISHER / Mitsuo Hashimoto MANAGING EDITOR / Robin Sakai ART DIRECTOR / Alfie Goodrich CONTRIBUTORS/ Adam German, Robin Sakai, Alfie Goodrich, Derek Makishima.

ADVERTISING & SALES Custom Media

MANAGING EDITOR

Robin has been involved in the Tokyo property and media worlds for more than eight years. He has helped create several platforms for connecting people with property, infomation and entertainment in the city.

ADAM GERMAN MARKETING DIRECTOR www.custom-media.com PRODUCTION & PRINTING DESIGN & LAYOUT / Japanorama PRINTING / Mojo Print COVER Priyanka Yoshikawa. Photo by Alfie Goodrich COPYRIGHT All content of the Housing Japan magazine is copyright Housing Japan and / or its respective author. It is used here for editorial purposes. Although every effort has been made to ensure the accuracy of the content within this publication, some information, such as contact numbers and addresses, may change without notice. Housing Japan and Japanorama accepts no responsibility for misrepresented content or information within this publication. © Copyright 2018

A well-known figure in both the marketing and sales side of Tokyo real estate, Canadian Adam has been been behind some of the most successful property services in Tokyo.

ALFIE GOODRICH

PHOTOGRAPHER & ART DIRECTOR Alfie Goodrich is a renowned photographer and art director based in Tokyo. His work is highly regarded by clients, a prestigious list that includes some of the biggest brands in the automotive, travel, media and consumer technology industries.

HIGHLIGHTS FROM THIS ISSUE

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PROPERTY — selling the dream: how we sold the luxury apartment, Churis Akasaka.

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AUTOMOTIVE — Aston Martin in Japan and the company's plans for the future.

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INTERVIEW — an exclusive interview with former Miss World Japan, Priyanka Yoshikawa.

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LIFESTYLE

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RETAIL — the buildings and uniforms of Mitsukoshi over the course of its long history.

— a look at some of the unique destinations and properties in the Ryokan Collection.

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A Message From Our President....

The past 12 months have been an exciting time for those of us in Tokyo, as the city undergoes a series of transformations that are taking it into a bright new future.

We have seen exciting developments transform neighborhoods, a record number of new tourist visits to Japan, and the final stages of preparations for the upcoming 2019 Rugby World Cup, and the 2020 Olympics.

Looking beyond the games, we also have further changes in the economy and the advent of integrated resorts on the horizon.

At Housing Japan, it has been a rewarding challenge to navigate through these exciting times for both our company’s and client’s interests such that together we are best placed for a bright future.

Of course, as we look forward, we should also remember that everything is being built upon the rich foundations that make Japan so unique - its culture, creativity and history.

In this, the Housing Japan magazine, we seek to provide a look at a little of both. Please enjoy this, volume 12 of our annual publication and if you are interested in renting, purchasing or arranging property management in Tokyo, then we look forward to helping you.

WELCOME TO OUR LATEST ISSUE...

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MITSUO HASHIMOTO PRESIDENT & CO-FOUNDER HOUSING JAPAN

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TOKYO MARKET REPORT What 2018 means for Tokyo real estate.

Regarding inflation, real estate generally has been an asset class that promises a strong hedge against inflation. Unlike stocks or bonds, property prices and rents generally rise and fall according to the inflationary / deflationary environment of the times.

Despite the Abe government repeatedly missing mandated inflation targets of 2% per annum, the general trend has been in the right direction and is independently forecasted to do so for the foreseeable future.

by ADAM GERMAN

2018 promises to see continued rises in property pricing and rents. Here’s why.

For prices and rents to rise, there are certain ingredients that are necessary. You need a rising population; you must have some degree of inflation; you must have inexpensive, responsible lending and you must have the most populous buyers in the market looking to own rather than rent.

Tokyo almost has all four. The population has been rising since for the past 60 years and the city is expected to retain its title as the world’s most populated city well into 2030. For financing, a domestic qualified buyer can borrow at 100bps or under for a primary residence fixed for 10 years with a 35 year loan term. Principle is paid down from day one and banks will never lend a borrower more then they can afford.

Source: Statista

Which brings us to the almost part of what Tokyo and Japan still need to see in 2018 for prices to rise further.

The most populous consumers in the Japanese market are the Japanese. At the moment in Tokyo, many are still hesitant to purchase. The reason for this hesitation can be laid squarely at the feet of private corporations dragging their heels on wage growth despite being given the best corporate environment a public sector can provide.

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Since his election in December, 2012, Mr. Abe outlined his three arrows of Abenomics and the third arrow was structural reform; a vague term that raised eyebrows for its ambition to eliminate outdated policies relating to the middle class. This spanned a breadth of topics from increased gender equality in the workplace to increased child care facilities combatting a declining birth rate to the aforementioned 2% per annum inflation target.

Indeed, albeit grudgingly or wholeheartedly, thanks to Abenomics, Japan is experiencing it’s greatest economic expansion since 2001.

With this, Mr. Abe naively expected that the private sector would step up and match wage growth to government mandated inflation targets. To date this has not happened to satisfaction. Wage growth since the beginning of Abenomics, while being the highest in decades, still has higher to go before the Japanese people feel confident enough borrowing to purchase real estate.

was announced that Mr. Abe’s government will give tax incentives to large and small firms that raise wages and invest in corporate infrastructure within Japan. On wage growth, corporations are standing on quicksand. For every new graduate there are now 1.58 positions available making the drive for talent more and more competitive.

Source: Bloomberg

Source: Bloomberg

Clearly Mr. Abe’s patience with the private sector is running out. On October 22nd, 2017, Mr. Abe and the Liberal Democratic Party were overwhelmingly re-elected on the continuation of Abenomic policies.

Indeed, albeit grudgingly or wholeheartedly, thanks to Abenomics, Japan is experiencing it’s greatest economic expansion since 2001. Earlier in 2018, it

The companies that continue to shun wage growth as a new reality will be the ones who find themselves with severe brain drain as other companies who are more willing to play ball lure workers away with better wages and benefits. These companies that invest more in their people will be the benefactors of increased innovation which means more out of the

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box thinking and as a result, increased profits.

For Japan, out the box thinking means finding ways of doing business more efficiently, in essence, increasing productivity in the workforce. To anyone who has worked in Japan, increased efficiency and productivity within Japanese companies might bring up a severe bout of skepticism. Said hesitation to believe this can be pulled off is backed up by productivity measurements in both the services and manufacturing sectors.

many of the ways to increase productivity are ways that have long been adopted by overseas companies, many of which Japan Inc. compete with globally so finding a blueprint to emulate in order to achieve this goal is not hard at all.

Should more modern practices be adopted within companies, coupled with the Japan’s ingrained cultural tendency to be the best at any task no matter how large or small, then it is not hard to imagine that productivity would skyrocket in the land of the rising sun.

Increased productivity then justifies sustained wage growth to shareholders thus completing the virtuous cycle sought after by Mr. Abe. Why does this matter for Tokyo real estate? It means that with increased wages comes increased household spending and with that, comes the sense of security to borrow for purchasing a home to live in rather than rent. The only economic indicator for Japan not rising steadily enough to convince the most bearish of analysts that Japan is an unsung opportunity is the wage growth chart.

2018 will be the year that Japanese companies buckle against the pressure to raise wages. Once the private sector ensures wages will stay higher than targeted inflation, then 2018 will be the year historians can point to and credit to the beginning of sustained economic growth and thus, further price and rent increases in central Tokyo.

Source: Bloomberg

Photos: Alfie Goodrich

While Japanese quality is famous, equally famous are the inefficiencies around decision making and adopting new practices of business. The good news;

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CHURIS AKASAKA How it sold: Kisho Kurokawa’s renovated Churis Akasaka

WORDS | ADAM GERMAN PHOTOGRAPHY | ALFIE GOODRICH

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Renovation f lipping in Tokyo has traditionally been a dangerous game. A lot of capital is tied in to acquire the property. If done right with a highly skilled team making great choices throughout the process, it is possible to be on the winning side.

Churis Akasaka is a groundbreaking renovation achieving an exit price that made the venture more than worthwhile.

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Originally designed and used by famed architect Kisho Kurokawa, the renovation investor purchased the unit in February, 2017 for an undisclosed amount.

At the time, the 312 square meter condo was in a very dated state. Small, compartmentalized rooms shut out much needed natural light from the interior of the unit and the floor was covered in carpeting that looked as old as the 1983 build.

The kitchen was also very small for a unit this size. Immediately on first inspection, it was apparent that the wall between the maid room and kitchen needed to be removed. This posed the first hurdle as you need to make sure you don’t remove a load bearing wall, thus compromising the integrity of the structure.

Most times this challenge is faced in house renovations however since Churis Akasaka is a condo, that meant engaging with the home owner’s association. The HoA had detailed records of structural plans that told which walls were load bearing or not. Luckily, the concrete wall separating the maid’s room and kitchen was not load bearing which allowed for the complete removal of the maid’s room.

The kitchen was expanded to more than double the original size to become, what ended up being, the defining portion of the completed unit.

The master bedroom was another place that needed a lot of work. The unit originally had two full bathrooms however they were not modern. One bathroom was off of the master bedroom but it was adjacent to a walk in closet which took up more room than it deserved to. The idea was to eliminate

the walk in closet altogether which allowed for more space to be allocated to the bathroom. With this space, there was enough room to put in his and her sinks into a granite countertop underneath full width, backlit mirrors.

After the initial purchase of the unit, Riccardo Tossani, the architect hired to oversee the renovation, set to work bringing the plans from paper to reality.

Brought back to the skeleton, the unit had new flooring installed throughout.

Special mention for the air conditioning units is deserved. Built into the window sills throughout, they presented a unique challenge that stirred a lot of debate.

Should they be removed completely with newer units installed or should they be left alone with new material laid on top?

In the end, the latter options was chosen.

A TOTAL RE-DESIGN FOR MAXIMUM USE OF INDOOR & TERRACE SPACE The old floorplan (left) and new floorplan of Churis (right).

It was a roll of the dice as it wasn’t entirely certain how they would turn out but once finished, they became fully functional window sills that could accommodate furniture or plants without affecting natural light into the unit.

The exit pricing was a long discussion but the unit finally went to market at ¥568,000,000. This was considered by many in the industry a very aggressive price however this unit had several things going for it to justify the ask.

One was the original size. Almost nowhere in central Tokyo can one find a 300 plus square meter condo. In a country where the population is rapidly aging and a city where space comes at a premium, finding 300 plus square meters spread out over one floor is very difficult to find.

The second was the unit has two full bathrooms. Properties at this pricing

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require there be two full baths but oddly enough, the current inventory in the city does not accommodate this desire. A lot of the brand new inventory we see has multiple toilets but only one bath again adding to the rarity of the property.

Third is what the kitchen became. This was a big plus for all buyers who went through the property, all of whom commented on the rarity of the space provided. There are houses inTokyo that have great kitchens but almost never in a condominium. With this unit, we were able to bring to reality a dream kitchen that would become a focal point for family living.

Fourth was the location, right in the heart of Akasaka, steps from Tameike Sanno station. The location allowed stunning views of the rapidly gentrifying Akasaka skyline.

Despite being on the 11th floor of a 14 storey building, the unit came with

private use of a 64 square meter roof terrace that offered privacy together with access to sky along with commanding views of the city skyline.

In the end, Churis Akasaka sold in October, 2017 for another undisclosed amount. We can say that it was very close to what was asked and sold to buyers that fit the profile we envisioned at the outset earlier in 2017.

If you are interested in development and renovation, then feel free to contact Housing Japan. We have the expertise, know how and contacts with banks, architects, construction companies and buyer’s agents throughout the city to make the venture turnkey and worthwhile.

Get started by contacting us today to discuss your development idea and learn our opinion of whether it can be pulled off. A little time investment now can pay off very nicely later ondown the line.

"Almost nowhere in central Tokyo can one find a 300plus square meter condo.

In a country where the population is rapidly aging and a city where space comes at a premium, f300 plus square meters spread out over one floor is very difficult to find."

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ASTON MARTIN

TURNS TO JAPAN

BY ADAM GERMAN & ROBIN SAKAI THIS PHOTO | ASTON MARTIN

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ASTON MARTIN TURNS TO JAPAN Housing Japan talks to CEO, Andy Palmer...

by ADAM GERMAN & ROBIN SAKAI

Things that come down to us through history have a special value. For something to have survived across generations, there is an intrinsic value that holds true regardless of the relatively fleeting trends of the time.

For those who value the truly special, this is understood when ownership is achieved. But a time also comes when we need to pass on that which was given to us. The question then, is how to communicate to the next generation that value just as we ourselves learnt it.

It’s a question faced by Aston Martin Lagonda Ltd. and its current CEO, Dr. Andy Palmer. The British sports marque represents hand crafted brilliance, iconic design and superior taste. With just 90,000 cars produced in its 105 year history, and more than 90% of them still in existence, you have an idea of

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just how much Aston Martin’s creations are valued by those that take ownership. When you order a hand crafted automobile from Aston Martin, you are receiving a direct link to a pedigree that began in 1905, with Lionel Martin racing up Aston Hill in Buckinghamshire.

It is just such a rich history however that can, and perhaps has, weighed down on the company in the past. How can you continue to protect a historically high caliber brand in a hyper-globalized economy while still maintaining the classic sense of rarity that comes with owning an Aston Martin?

For Dr. Andy Palmer, you turn to Japan.

Standing alongside Theresa May in August, 2017, Dr. Palmer announced a £500 million trade and investment program as part of the UK business delegation that was a bilateral push to strengthen economic ties between Japan and the UK. This investment covers the all new House of Aston Martin, a template setting brand centre that recently opened its doors in Aoyama, a short walk from Omotesando.

Additionally announced was the creation of an Aston Martin Meta Technology and Luxury Accelerator office in Japan; the first ever to exist outside of the UK. There is also an expansion of events and experiences to be held with Japan-based owners – all part of a new conversation around Aston Martin and what it stands for today.

It’s a big step, but in turning to Japan, Dr Palmer

knows exactly what he is getting into having worked in the country for 13 years previously across the British and Japanese car industries.

In November, 2017, Dr. Palmer graciously took time out to sit with us at the House of Aston Martin and explained why Japan has just the right mix of characteristics he needs to further the momentous legacy of Aston Martin.

In Dr. Palmer’s own words; ”If you can tell your story well in Japan, then you can tell it anywhere. Japan remains the second largest market in the world for luxury, there is tremendous respect for craftsmanship across all walks of society.

"If you can tell your story well in Japan, then you can tell it anywhere.

Japan remains the second largest market in the world for luxury, there is tremendous respect for craftsmanship across society here.

But crucially, for a western brand, it is also very foreign. That forces you to think about what you are communicating, what is the essence of your message. Japanese consumers are the most demanding in the world, so if you can successfully engage them, then you have everything you need to engage customers anywhere else in the world.

As local residents, we have all seen that there is a strong appreciation of aesthetics in Japan, which is an element of the culture Dr. Palmer says fits well with Aston Martin. "We take more than 100 hours just to paint our cars, whereas a Toyota is built front to back in just 20 hours.

That isn’t a criticism, we are in different markets. However it highlights the level of attention that an Aston Martin receives that no other car in the world does."

Dr Palmer continued; ”British people grow up with Aston Martin, they know the places, the touch points and understand where it comes from and what it represents. If I can make an analogy; its like cricket. When you grow up in England, nobody explains the rules to you. You learn by osmosis and somehow at 10 years old, you find you just know how to bowl and defend your wicket. But try explaining to someone not from the UK how to play and why a game can last 5 days and still be a draw at the end. It isn’t easy.

For a western brand, there is no where more foreign [than Japan]. Very few people here are familiar with where we come from as a company - and we are not going to be given the time to communicate everything to them.

Its a challenge, but I believe the way we strive to build beauty into everything we do will resonate.What resonates in Japan, sets trends around the world."

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"Sometimes, in England, we are guilty of looking too much into the past and to how things used to be. In Japan, society looks to the future.

One of the biggest things that Japan has taught me is not to see technology as a threat, but as an opportunity."

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We asked Dr Palmer to explain who his customers are in Japan and how the make up compares with a decade ago, and also if he has any concerns about Japan’s future population decline.

up with others. In 2018, Aston Martin will deepen their technical partnership with the Red Bull Racing Formula 1 team as title sponsor, to become Aston Martin Red Bull Racing.

"No. Traditionally our customers here used to be quite old and interested in the historical cars. However in the last couple of years we have made breakthroughs into a younger demographic, especially with models like the Vantage. There is a lot of excitement around the DB11. We are attracting new customers who would’ve previously bought a Ferrari or a Bentley.

These aren’t simply words, Aston Martin has rising sales to back it up. In 2017, the company sold a record 321 cars in Japan, a large increase over the 186 sold the year prior. These strides make Aston Martin the fastest growing luxury car manufacturer in Japan.

Outside of Japan, Aston Martin is lending the brand to non-automobile ventures that equally match the foundational principles of high caliber beauty; a standard set high by Aston Martin itself. In Miami there are luxury condominiums being built that bear the marquee moniker; the Aston Martin Residences. You can now purchase an AM37 power boat, and there are talks even of a luxury submarine to follow suit. These separate ventures do not reflect a distraction from the core competency curated over time of handcrafting luxury automobiles. Dr Palmer stresses that Aston Martin is first and foremost a car company. However, these partnered ventures provide Aston Martin more opportunities for the brand to participate in different parts of client’s lives that, while not directly connected to cars, are bespoke experiences nonetheless.

I have lived and worked here [in Japan] for a long time and one thing it taught me was to look to the future.”

Dr Palmer explained. “Sometimes, in England, we are guilty of looking too much into the past and to how things used to be. In Japan, society looks to the future. One of the biggest things that Japan has taught me is not to see technology as a threat, but as an opportunity. These are the lessons that I am directly putting to use at Aston Martin.”

This engagement with Japan can be seen in more than just the Aoyama brand center. Aston Martin’s Art of Living program is expanding with the recent Hokkaido on Ice driving event due to be followed

Dr. Palmer concluded; "We are a very, very British brand, but as Japan does not have a luxury brand of its own, I hope in some way that its people will adopt Aston Martin and contribute to the next chapter of our story as it unfolds over the next 100 years.”

Experience the House of Aston Martin Aoyama for yourself on Aoyama Dori at 1-2-3 Kita Aoyama, Minato Ward, Tokyo.

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PRIYANKA Priyanka Yoshikawa on how her Indian origins helped her become Miss World Japan.

INTERVIEW / ADAM GERMAN PHOTOS / ALFIE GOODRICH

Priyanka Yoshikawa has faced head on the challenges of growing up biracial in Japan, faced them and excelled becoming Miss World Japan in 2016 and then using that as a spring board to develop a career modelling and acting both Japan and India.

A child of an Indian father and Japanese mother, she is the second young woman of dual heritage to win a beauty pageant in Japan and represents one of a small but growing number of children in the country born to both a Japanese and non-Japanese parent.

The struggle to come to terms with her mixed identify has not been easy, but neither has she let it hold her back. As she told Housing Japan when we recently sat down for a talk together, she has come to embrace both sides of her origins, speaking English, Japanese and Bengali and combining a range of talents drawn from both cultures.

How did it feel to win Miss World Japan?

At the moment there was a big mix of emotion. I worked hard during the preparation for the pageant and part of the motivation to get me through the day to day was imagining hearing my name called in the end. Looking back on it though, there was definitely a lot of happiness, relief and excitement all rolled into one.

Along with yourself and Ariana Miyamoto, there are no other bicultural people who have won pageants like this in Japan. What has your win done for the pageant?

I hope a positive one. I can’t speak for Ariana’s experience but I know after I won Miss World Japan in 2016, applications from bicultural girls rose dramatically for the pageant in 2017. Hopefully I don’t sound pretentious but I’d like to think my win was a door-opener for more girls like myself.

When you won, were you treated fairly in both Japanese and international media?

Were there any differences you noted?

Fair is a very subjective term and differs with everyone. For me however, the reality was when I won, I did have much more media reaction outside of Japan than within. What this says about Japanese culture can be left open to interpretation however given my experience growing up in Japan, I can’t say this was a surprising outcome. There were some comments on Japanese media forums asking whether a monocultural Japanese girl can win pageants or not these days which, for a historically homogenous environment that Japan is, I suppose is a fair enough thing to voice perhaps.

The media has made note of your identity struggles when you were younger. How were you able to overcome those and what advice would you give other bicultural girls growing up in Japan?

I think it is too easy to generalize the struggles of bicultural kids growing up in Japan as, with everything else, really comes down to the particular type of struggle you have. In my case, I couldn’t read or write Japanese when I was younger so fitting in at school was hard.

Through hard study, I caught up to the other students eventually and yes, there was a bit

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of bullying. Was I bullied because I was bicultural? No, I don’t think so. Monocultural Japanese kids get bullied all the time too and in my case, it was more a language issue than anything else.

The advice I would give to bicultural girls would be the same as I’d give monocultural ones; ask for help when you need it, talk through your problems with trusted friends loved ones and realize the struggle is temporary, that it will end. Most importantly, even while struggling with whatever it is, remember to love yourself along the way.

You can’t be anyone else, only you so be happy with what you have while striving to grow.

Given the overall experience, would you do the pageant again? Why or why not?

Absolutely, hands down would do it again! I miss my Miss World sisters and the pageant itself was the best three weeks of my life! That said, if I could magically go back I would as there were some things I know I could have done better but my nerves got the best of me.

PHOTOS Photos all shot on location in and around Azabujuban and the photographer's studio in Moto-azabu.

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ADVERTORIAL

Tokyo Children’s Garden:

A NEW APPROACH TO PRESCHOOL EDUCATION Parents in Japan are spoiled for choice when it comes to international preschools, with many institutions touting new and innovative teaching methods. However, it’s often difficult to tell whether a school has the teaching experience and environment necessary to fulfill the promises laid out in its philosophy. With Tokyo Children’s Garden (TCG), you can be confident it does.

TCG is a new bilingual preschool, designed from the ground up to provide the perfect environment for young minds to thrive in. The school’s focus is on nurturing creativity, critical thinking, and social and emotional skills to create a solid foundation for future academic achievement. With beautiful facilities near Gotanda and a team of experienced teachers, TCG aims to be the best preschool in Tokyo.

INQUIRY-BASED LEARNING TCG’s philosophy is inspired by Reggio Emilia, an approach that was specifically tailored for early years education. Reggio Emilia sees children as having a central role to play in their own education—they’re not merely empty vessels to be filled with knowledge.

As TCG is a bilingual school, children’s linguistic backgrounds are complemented by those of the teachers, who provide a resource for the acquisition of language skills. The role of parents is also important—a central aspect of Reggio Emilia is that parents and teachers learn alongside children. The school provides journals that offer an insight into each day’s activities.

To help support learning outside of school hours, TCG also runs workshops for parents on weekends.

A SECOND FAMILY At TCG, children have the freedom to choose activities based on their own interests, with teachers on hand to guide and facilitate. Small-scale activities have the potential to evolve into longerterm projects, but this is an organic process and is always informed by the interests of the children.

Projects offer children the chance to work together, developing social and communication skills. Creativity is another key component of learning, and the school has an in-house artist.

A COLLABORATIVE APPROACH TCG eschews the traditional preschool setup of classes divided by age group, instead opting for a single, multi-age class. While the school is large enough to accommodate 60, TCG never has more than 18 students, who are overseen by five experienced teachers. The children have access to all the teachers every day.

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TCG understands that every child is unique—they each have their own personalities, interests, and abilities. The students benefit from the unique expertise of a range of teachers, who work together to ensure that each child is able to fulfill their potential.

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For children to get the most out of inquiry-based learning, they must first feel secure and confident in their environment. By maintaining a low student–teacher ratio, TCG ensures that children can quickly develop strong bonds with teachers and feel happy and settled from their first day. Everyone is included, and each child learns the importance of mutual respect and cooperation.

The aim is to create a kind of second family at school, and this is most noticeable in the way lunch is conducted.

Rather than separating teachers and students, everyone sits together and shares the same food. The result of these efforts is greater confidence among the children and a greater willingness to try new things. Happiness is not just a benefit of the approach, but a central key to its success—even if it sometimes means children are reluctant to go home at the end of the week!

To see for yourself what makes Tokyo Children’s Garden special, arrange a visit through their website:

www.tokyochildrensgarden.com

Where do you see yourself and your career going from here?

I’d like to continue working in the entertainment business but at the moment, I’m like an open book, ready to see where life leads and where the rest of the story takes me.

Where do you see Japan fitting into future plans?

In some part. How much of a part I’m still undecided. I definitely envision myself working in Japan and out as I have the heritage to facilitate that type of career move which definitely gives me an edge over my competition.

Some of the criticism leveled at you after winning showed the world a side of Japan not often seen, referring to ideas of what being Japanese is. What does being Japanese mean to you?

Some may say being Japanese is to be authentic about your nationality/citizenship but I don't think where you were born is always where you belong. For me, if it's in your heart, if you love Japan and you are proud to be Japanese you are Japanese.

Are you Japanese or Indian or Priyanka?

All of the above. My father is Indian, my mother is Japanese and I was born and raised in Japan. I still don’t understand why people have to choose one identity. No one, anywhere, ever, has come up with anything close to a reasonable explanation why.

Without that, I will continue to enjoy being

myself who happens to be Japanese - Indian.

Do you think Japan is more accepting of bicultural people now versus when you were younger?

Definitely YES! In Japanese there is a phrase called the“Kuni - no - Kabe” (which literally translated means "Country’s Wall”). It refers to an omnipresent walled separation that Japanese people feel when interacting with non - Japanese. This wall has weakened significantly over the last 30 years and could be argued it has completely broken down already.I’ll let the cultural anthropologists argue over specifically why but no doubt technological advances have ushered in a more globally minded young Japanese generation that feel they have more in common with foreigners than their parent’s generation ever felt. I’d like to think this increased connectedness will continue to get stronger moving forward.

Tell us more about the elephant license?

I was in Thailand when a friend called me from Laos and said there was a training camp there where one can become a certified elephant trainer. I love elephants so hopping on a plane was a no brainer! I got certified, but it was more for fun than any real resume booster and it helps the Laos tourism market.

A word of warning to those interested; not all camps treat the elephants humanely so make sure you do your research on which camp to join.

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THE HIRAMATSU HOTELS & RESORTS SENGOKUHARA Ryokan Luxury for the Modern Age STORY / ROBN SAKAI PHOTOS / THE RYOKAN COLLECTION

How can you not like a resort that offers the full Japanese ryokan experience within your own private suite?

Especially so when the suite offers views of Mt.Fuji and comes beautifully finished in the finest of contemporary luxury.

Even if you have never thought about experiencing a ryokan and traditional Japanese luxury, there is much to like about Hiramatsu. Extensive suites, innovative dining by world-class chefs, attentive sta ff a nd interior design tha t would inspire even the most jaded artistic soul. You can easily imagine the ideas flowing over morning coffee spent overlooking the flowering countryside of the Sengokuhara, below Mt. Fuji - sites that have captivated creators throughout the ages.

The Hiramatsu Hotels & Resorts Sengokuhara is a hotel created by a restaurant group. Specifically a brand of restaurants that first launched in central Tokyo`s high-end international neighborhood of Hiroo. It takes a lot to stand out there; the a rea conta ins a number of Michelin sta rred restaurants and lies at the centre of Tokyo`s gourmet culture. Yet stand out Hiramatsu did.

The brand expanded, moving into hotels with a select series of boutique ryokans, each designed around a European concept of luxury that is then combined with traditional Japa nese touches.

This international appeal is not mere window dressing. Hiramatsu in Paris was the first Japanese owned restaurant to win a Michelin star, only four months after opening - a legacy of their association with famed chef Paul Bocuse.

Loca ted in the mounta ins of Hakone, The Hiramatsu Hotels & Resorts Sengokuhara is in the perfect place to take in both Japan`s stunningly beautiful nature, as well the vast depth of its culture. The hotel enjoys a privileged place on the mountains, overlooking dramatic countryside and on clear days, views of Mt. Fuji. Nearby lies a number of significant art and cultural sites, including a large Picasso collection and a former official summer residence of the Imperial family, as well as renowned hiking trails, natural hot springs and hidden pockets of traditional culture.

Early this year, I reserved one of the standard rooms. Its open floor plan smartly divided by large sliding doors that opened out onto the onsen bathing room, the space then elegantly flows onto a large balcony and offers commanding views of the countryside with huge floor-to-ceiling windows. Inside, every aspect is carefully applied, the onsen ba th is deep a nd luxurious with a constant flow of fresh water. There is room to lounge, a large walk-thru shower, his-and-hers beauty tables and a place do dry down, nicely enhanced with blue-tooth speakers playing my own choice of music.

On the other side, a stylishly appointed reading

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lounge stocked with a well selected libra ry, a writer`s desk and a king-size bed. Walk-in closets, toilet and other elements were safely tucked away out of site and out of mind.

The real eye-catcher is how the room, rendered in elega nt contempora ry tones, nea tly flows from the bed to the couch, to the onsen a nd on to the scenery outside and how it can all be enjoyed without moving a step once all of the doors are opened up to maximize the significant size of the suite.

Free WiFi, attentive but not overbearing room service, space and plent of power outlets kept me in touch with the outside world, but such is the richness of the interior design that I was perfectly happy to let it pass me by; much preferring to partake in the delights of the bath.

If interior design alone was enough to attract guests then Hiramatsu would still stand out from the crowd. These days though, things are different in Japan. Tourism is becoming a major economic force and a number of places are adapting their appeal to suit international tastes.

To become truly rema rka ble in these circumsta nces requires more. And for tha t, Hiramatsu has a secret weapon - its incredible food. The hotel stays true to its roots in central Tokyo`s fine-dining scene, the menu an Italian offering, but masterly applied by a Japa nese

chef. Dish combinations are delicately chosen a nd sma rtly pa ired, a rich crea m pasta was perfectly topped off by an accompanying wine and followed by perfectly prepared vegetable dishes. Each of the ingredients distinct.

Dinner was taken in an intimate, elegantly lit dining room with which the next day`s breakfast contrasted nicely. This was served in the glorious open space of the veranda dining area, a large bea utifully appointed room with a backdrop of unencumbered, sun-filled mountain views.

If there is a better way to start a day than to take a four-course breakfast, fresh orange juice and piping hot coffee while drinking in Japan`s natrual splendour, I have yet to find it.

At every turn The Hiramatsu Hotels & Resorts Sengokuhara represents the Japanese ryokan reinvented as a sophistica ted, gla morous, comfortable space, with decor that impresses, without being showy. In an age when many of Japan`s hotels are rushing to renew themselves, Hiramatsu doesn't forget that it is the entire experience that matters.

They currently offer three properties throughout Japa n, with a fourth opening up in Okinawa later in 2018.

Fo r m o r e i n f o r m a t i o n , v i s i t : h t t p : / /w w w. hiramatsuhotels.com/eng/sengokuhara/

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Hidden Gems: Destinations in The Ryokan Collection.

Above: The Asaba Ryokan, located in the tranquil onsen village of Shuzenji on the Izu Peninsula.

Left: Nakanobu Zui-en in Arima Onsen, just north of Kobe: an onsen area with a history dating back to the 8th Century.

The Hiramatsu Hotels & Resorts Sengokuhara is a renowned na me in Japa n a nd one of the increasing number of luxury brands beginning to make their mark overseas. The unique appeal of Japanese luxury however, is sometimes be tempered by the difficulty in navigating its very particular culture. An especially acute problem if you are seeking the fullest experience.

The Ryoka n Collection therefore offers the perfect solution. A single destination for those who want to reserve a stay in one of Japan`s finest hotels, but also want to enhance their stay by embracing a cultural experience that can not be had anywhere else.

The orga niza tion brings together ryoka ns throughout Japan, encompassing luxury inns of every taste. Be it from feudal gra ndeur to elega nt modernity, from the snow-scapes of Hokka ido through to the dra ma tic colors of Kyushu. They combine this impressive ra nge of accomodation with the ability to arrange a truly unique touch to your stay.

A recent exa mple tha t the compa ny uses to highlight this comes from a guest stay in Kaga,

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an historic area settled by a number of famed sa mura i lords a nd from which a number of artistic traditions flourished. Today, as in the past, it is renowned for its local designers and creatives, who continue to produce some of the most distinctive and highly regarded work in Japan. A stay at the ryokan here, set admist the historic streets, was recently enhanced with a private demonstration of traditional lacquerware by a crafstman working in in the same way that his predecessors had done for more than two hundred years.

The opportunity to engage with Japanese arts in ways such as this has rarely been available, but this is only one example and there is much more wa iting to be discovered. One of the great strengths of Japan is that it has kept its excellence in the arts alive, even as the country has modernized in other areas. As there is increased opening up of the travel sector, the opportunities to experience for yourself in ways not commonly available are there to be found.

More about The Ryokan Collection: https://www. ryokancollection.com

New Members of The Ryokan Collection.

Shinsen, Kyushu

Shinsen is nestled in the rolling hills a round Mt. Aso, in sacred la nd where the gods were once said to dwell and where many of Japan`s a ncient myths were born. There, close to the scenic Takachiho Gorge, and the 1200 year old Takachiho Shrine, this ryokan, with its mix of tradition and comfort, gives its guests a taste of old Japan, while offering all the luxuries and conveniences of the modern world. All the rooms feature beautiful Japanese gardens with artfully arranged rocks, trees and raked gravel, as well as high-end furnishings and amenities.

Auberge Maki no Oto, Toyama

The beautiful Auberge Maki no Oto, Toyama presents a way to connect with the a ncient rhythms of rural life and a promise of respite from the stresses of everyday life. Maki no Oto is a Japanese ryokan modeled after satoyama style auberge. Combining the family-style rural auberge with service based on omotenashi, the ancient art of hospitality. The name “Maki no Oto” evokes the feeling one gets listening to the sound of a cheery, crackling fire in the fireplace and the aroma of rice cooking in a makigama traditional wood-fired rice cooker, like the one that graces the ryokan’s lobby.

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The Ryokan Collection is a select range of Japan’s finest ryokans, located in places of exceptional beauty and culture. Staying at a Ryokan offers an experience unavailable anywhere else, allowing you to indulge in a luxury stay together with Japan`s legendary hospitality and service.

PHOTOS THIS PAGE: 1. Atami Kaihourou, Atami 2. Yagyu no Sho, Izu 3. Takinoya, Hokkaido 4. The Hiramatsu Hotels & Resorts Atami, Izu

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CREDIT: The Hiramatsu Hotels & Resorts

4.

CAMERA WONDERLAND A glimpse into Tokyo's wonderful world of vintage and classic camera stores.

STORY / ALFIE GOODRICH PHOTOS / GWENNY RUIZ & ALFIE GOODRICH

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"Growing up in the UK in the 1970s & 80s, meant there were always good used camera shops to find in pretty much every town. The UK isn’t like that anymore. But, the good news is that Tokyo still is."

I shoot digital now, pretty much exclusively. But I do still use a lot of older lenses on my digital cameras and it's great to have so many shops in Tokyo where you can find old gear at great prices. Most of the Nikon lenses I use for my work are lenses I have had for a long time and in some cases since I was a kid. Whether you shoot film and are looking for old cameras or like me are just looking for some great older glass, Tokyo has some wonderful Aladdin’s Caves for you to explore.

In this article I’ll go into detail about the one that is my favourite: Crosspoint, in my neighbourhood of Omori. After that, there’ll be names and directions for some of the best of the rest.

I first recall meeting Takahashi-san, the owner of Crosspoint Cameras in Omori, in 2007. It was the year I moved to the area and finding such an Aladdins Cave of cameras in my own neighbourhood was a little overwhelming. We’ve had a good friendship ever since.

I posted an article on my Japanorama website in 2008 and since then the shops seems to have had a lot of business because of it. I’ve bought a few cameras and lenses there myself, taken a load of friends and acquaintances to the shop. Crosspoint has ended up being a bit of a meet-up spot for a lot of people who know me on the web when they come to visit Tokyo.

Crosspoint is not full of modern gear. Over the years a bit more new stuff and nearly new stuff has made it onto the shelves but the main reason for visiting the shop would be to find some older gear. There’s a lot of 35mm film gear, as much medium-format stuff and a fair amount of large-format too. He has a wide range of older Nikon, Canon, Minolta, Pentax, Olympus and Contax lenses and bodies. There are some rarities but also just a lot of good value-for-money gear that is looking for a good home. Takahashi-san is a generous soul. I’ve had at least five free repairs on old, manualfocus lenses. One because Takahashi-san took pity on my awful skills at re-assembling an old 50mm I’d decided to take to pieces myself. On top of that, at festive times of year when he sees me passing the shop, I get free chocolate cake. Not sure you could ask for more.

The shop is just five minutes walk from the North Exit of JR Omori Station, which is on the Keihin Tohoku Line. Searching on “Crosspoint Omori” on Google Maps will bring up the shop straight away. If you

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do go, be sure to mention me and the magazine to Takahashi-san and I am sure it’ll end up translating into some sort of bargain or other for you.

Here follows a list of the best of the rest, in no order of preference but just the order they come into my head. All of these shops are easily found on Google Maps by just searching on the name of the shop and the name of the neighbourhood; i.e. ‘Fujiya Nakano’ or ‘Map Camera Shinjuku’.

Fujiya Camera, Nakano.

Fujiya offer superb deals if you are looking to trade your gear in and buy other stuff from them. Fujiya is split into several stores in the same street: cameras and lenses, tripods, lighting. Truly a cornucopia of great gear at very reasonable prices. Fujiya is very close to Nakano Broadway.

Map Camera, Shinjuku Map is good for both new and used gear. Taxfree shopping for tourists (remember to take your passport with you). The shop is spread over six floors, categorised by maker (Nikon, Canon, Sony etc). The basement floor has the more exotic stuff like Leica and all the medium-format cameras (Hasselblad, Mamiya etc).

Shinjuku Used Camera Market This little shop sits on the second floor above the ABC Shoe shop in Shinjuku, just around the corner from Map Camera. You can find them on the web at http://nsi-jp.com. Great selection of older gear and some bargains. The owners can tend to be a little snobby sometimes but the shop is well worth the visit.

Nisshin Camera, Akihabara Nisshin is about 30metres south of the entrance to Iwamotocho subway station and right on the corner near the Kanda River bridge. I’ve bought older Nikon lenses in there a few times. Good prices and friendly staff.

Osawa Camera, Ebisu This charming little shop offers some great deals on a wide range of older lenses and cameras. If you’re a Micro 4/3 or Sony user, Osawa has a lot of older lenses and adaptors available. The staff are super friendly and have even kept the shop open for me for five minutes past closing time, when they knew I was coming in but got stuck on a slow train. They also do film developing.

These are just a few of the great stores in Tokyo. You’ll find many more by visiting Google Maps and searching for ‘used camera Tokyo’.

Alfie Goodrich is a professional photographer, photography teacher and Ambassador for Hasselblad cameras. For more information about his photowalks, lessons, workshops & to see examples of his work, visit http://japanorama.co.uk

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The beautiful interior is surrounded by walls of pure wood, incorporating natural materials such as leather and greenery. Experience the heartwarming hospitality within this classic,

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CRISTA 1-2-5 Shibuya, Shibuya-ku, Tokyo 03-6418-0077 www.tysons.jp/crista/en HOURS Weekdays 11:30 a.m.–2:00 p.m. (last order) and 5:30 p.m.–10:00 p.m. (last order) Bar/Lounge open until 12:30 a.m. (last order) Saturdays 10:00 a.m.–10:00 p.m. (last order) Bar/Lounge open until 12:30 a.m.

Sundays & Holidays Housing Japan Spring10:00 2018 a.m.–9:00 p.m. (last order) Bar/Lounge open until 10:30 p.m.

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PHOTO / ISTOCK PHOTO

STORY / ROBIN SAKAI

SCRAMBLE for SHIBUYA

Property market update...

Residential pricing has high chances of seeing significant appreciation immediately around Shibuya station as well as along the commuter lines running through the hub between 2017 and 2023.

This seems a very bold statement to make, however Shibuya is one of the most important sub markets of Tokyo residential real estate and it is currently undergoing a huge redevelopment that will dramatically alter its composition beyond current recognition.

Noticeable headlines – the station, new department stores and Google Japan announcing an office expansion are commercial trends that will directly effect residential demand. In central Shibuya, there will be over 10 large scale new developments coming to completion over the next 5 years. According to Savills Japan, combined office and retail stock around Shibuya station will expand by over 800,000 square meters through 2023.

Although there are a number of construction projects going on around Tokyo, nothing else compares when you factor in scale, access and visibility.

These companies are looking to draw their talent from nearby universities, namely Aoyama Gakuin and Meiji University, that will directly impact the type and value of the homes that are in demand. Starting annual wages for IT professionals working for large reputable companies are JPY 6 million going up to JPY 50 million depending on rank & position according to the Robert Walters Salary Survey of 2017.

Simply put; the Shibuya station area will see an influx of highly paid staff at large stable companies between now and 2023. It is important not to overlook how significant the retail landscape will change too.

Traditionally, Shibuya`s appeal was with teenagers and young adults with limited disposable income.

They would spend on their way home to the local residential neighborhoods from nearby schools.

Currently Shibuya is benefiting from the increase in tourist spending but moving forward, the further addition of luxury retail will target the same IT professionals coming to work in the area. It is no stretch of the imagination to argue that due to increasing demand for places to live, residential pricing and rents will rise as well.

The Shibuya station area will not be the only benefactor though. Shibuya is an important hub station where trains from three Tokyo Metro subway lines continue out on two tracks operated by Tokyu; the Denechofu line and the Toyoko line providing simple access to Kanagawa prefecture. Additionally the Keio Inokashira line begins in Shibuya connecting the hub to west Tokyo.

All of these lines run through adjacent Setagaya and Meguro wards. While Shibuya ward has seen aggressive price increases over the last 5 years, Meguro and Setagaya wards have lagged.

The completion of Shibuya’s developments will further stimulate population growth as younger workers are attracted to Shibuya with stronger wages. It is again no stretch of the imagination to argue that stations on these three lines within a 15 minute ride to Shibuya station will see the most aggressive price and rent rises in the mid to long term.

For more information on the individual developments going on in Shibuya, ShibuyaStation.com provides a comprehensive overview.

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Housing Japan Spring 2018

URBAN RENEWER WRITER / SIMON FARRELL

Mori Building CEO shares his vision for Tokyo.

In 2011, you took over as President and CEO from Minoru Mori. What has changed since then and how are you carrying his thoughts and philosophy forward?

Mr. Mori had a very strong vision and philosophy— one in which I believe strongly. Since his death, we have continued to carry his philosophy with us in everything we do. I believe we must make sure that his vision is always with us. I think it is important to express our philosophy and vision—which I call “Mori Buildingism”—to our employees and to others using simple words so that concept is easily understood.

The Tokyo skyline of 2017 looks quite different from that of 2001—the year in which the twin towers of Atago Green Hills joined ARK Hills in the portfolio of Mori Building Co., Ltd. and kicked off a string of high-rise projects that have transformed Minato Ward. It was the vision of the late Minoru Mori to change the way we live and work through his concept of the Vertical Garden City. A year before his passing in 2012, Mori handed the torch to then-Vice President Shingo Tsuji.

In this exclusive interview, his first with an Englishlanguage publication, Tsuji explains the importance of “Mori Buildingism” and outlines the developer’s plans for the next decade.

It is our style, our philosophy, our attitude, and so I have coined this term. I think for something to be called an “-ism,” there needs to be a distinctive difference, and thus my message to my employees is to strive to be different—instinctively different.

Each year on March 8, the date of Mr. Mori’s death, we hold a ceremony called “A Day to Consider the Future of Cities.” We gather all employees and bring in a lecturer who is an expert on cities to think about the future of cities. Keio University Professor Heizo Takenaka and architect Tadao Ando have come to speak, and I speak as well. Also, I have a personal column on our intranet website, and I publish articles there to communicate Mori Buildingism to our employees once or twice a month. I also organize a gathering with the younger employees a few times a year and directly exchange ideas face-to-face. Being a developer, I think it is very important to keep a very bold, long-term perspective, with an eye always toward what is needed, 20 or 50 years from now, for Tokyo to remain competitive among global cities.

And this is what Mori Buildingism is all about, which makes us totally different from others.

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With that as our base, we then need to think about fluctuations in the financial and office markets, as well as in construction costs. Things change very quickly, so I need to consider how we can adapt to those changes, given the vision.

What are the biggest challenges Tokyo must overcome? What is important to survival in the competition among international cities?

We have a think tank called The Mori Memorial Foundation, and every year since 2008 they have conducted research and compiled the Global Power City Index (GPCI), a comprehensive ranking of the world’s major cities. In the 2017 ranking—the latest to be released—London placed first followed by New York, Tokyo, Paris, and Singapore. There are 44 cities in the report. The uniqueness of this ranking is its comprehensive nature, with total points being based on many factors—such as economy, accessibility, or livability. The attractiveness of cities is not about each of the elements but the comprehensive power, and the ranking is based on this total score. What makes the ranking and scores very useful is

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that we know in which areas we rank low and in which we rank high, and that enables us to build on our strengths and overcome our weaknesses so that we can improve the city’s overall attractiveness. Tokyo ranks highly for size of the economy. The GDP of Tokyo is very large, and the amount of office space is also very large. In these areas, Tokyo has a sizeable lead on the global competition. Good food and safety are also strong elements for the city. We do face weak points, though. For example, London has direct flights to about 300 international cities. Tokyo has about 90. And while access from Haneda International Airport takes relatively little time, Narita International Airport is a bit far from the city. This is reflected in the weak score for accessibility.

The level of corporate taxes and some of the difficulties international companies face when they’re doing business here are also somewhat weak points for Tokyo. As you know, Japan is an aging country with a declining population, so to overcome these weaknesses we must welcome people and resources from overseas.

This is our challenge.

To attract non-Japanese to Tokyo, there must

be spaces that can accommodate how they work and live—and that is something we are creating. You may notice that, in a Mori Building development, there is usually an international-style residential component. And our strategic domain of Minato Ward, unlike other business areas in Tokyo, is home to one quarter of the global companies in Japan, some 20,000 non-Japanese residents, more than half of the embassies, more Michelin-starred restaurants than Paris and New York, and so much greenery. All these elements are especially important for attracting non-Japanese people, and we believe that welcoming new companies and residents is key to making Tokyo competitive globally.

What role does cultural exchange play in the projects Mori Building develops?

We have the Mori Art Museum at the top of Roppongi Hills Mori Tower, and there is a concert hall—Suntory Hall—in our ARK Hills development. Our projects are typically large-scale, and in each we try to incorporate cultural and art elements. I believe that cultural

exchange is very important for making Tokyo more attractive. The biggest gap between London and Tokyo in the GPCI ranking is the cultural interaction score. If we were able to overcome that weakness, I think we might even rank first overall.

Tell us about the progress you’re making with other urban renewal projects.

They are going well. With large-scale redevelopment projects such as those we undertake, there are so many factors involved that the schedule is typically delayed. So, to be able to say that we are on schedule is good news. We have a very aggressive plan for the next 10 years, and we have some 10 projects in a very concentrated area of Minato Ward, for a total investment of more than ¥1 trillion [$8.8 million]. There is a plan and schedule that we have put forward to strengthen Tokyo’s magnetism, and I’m happy to say that we are on schedule. Mori Building projects are unique and create a compact city, where people can live, work, and enjoy themselves with everything they need within walking distance.

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With the Vertical Garden City concept, we build a super high-rise that opens to lots of greenery at the ground level. It also integrates all city functions and facilities—offices, residences, hotels, cultural facilities, shops, and restaurants—into that complex. So, all aspects of living and working in a city are realized.

Our upcoming Toranomon–Azabudai Project will add a world-class hotel to the area, new residential units, and global-level offices. There are also elements of art, international schools, and an international supermarket, along with many retail shops, wellness centers, and other functions that will make this project one of a kind.

With the Toranomon–Azabudai Project, the shape of the land is unusual. Will it feel as cohesive as Roppongi Hills?

There are particularities of the Toranomon– Azabudai Project that make redevelopment challenging, and you are quite right that the shape of the site itself is unusual. But with eight hectares to work with, I feel we have the ability to propose something unique and very good, given the scale of this site. The plan that we are developing makes use of the uncommon shape and the height differences of the rolling hills.

Ideally, you have a square site on which you construct buildings, and what is left you turn into plazas or parks—a building-led project. But the Toranomon–Azabudai Project, because of its shape and the rolling hills, puts the greenery and gardens front and center. The buildings then rise from the green landscape. I think this is probably the best approach through which we will be able to incorporate rolling hills, and the plan must take into account the difficulty of the site itself. But, when it is completed, I think it will create a new vision and a new awareness of the environment. It will very much be the realization of Mori Buildingism.

Town Management plays a big role in Mori Building developments. What is it and how did it come about?

Town Management is something we structured for Roppongi Hills. Because it is a very largescale development, we often say it is a city within a city—integrating many different

functions. This makes it challenging to maintain a cohesive feeling for the overall community.

But, if you’re able to operate it as a whole under one management, then you can leverage the complexity to create a town. For example, the Christmas illumination at Roppongi Hills is produced by our Town Management Division.

In a typical town, retail associations decide how the illumination should look, because Christmas is such a busy shopping time and that is their period of peak traffic for shops.

But, at Roppongi Hills, the Town Management Division is able to maximize opportunity— because they are in charge of looking through all areas of Roppongi Hills, the plaza, the roadsides, and the parks—and make sure all illumination activity is well coordinated to achieve maximum effect for the whole complex.

So, there is a framework of rules that functions very well. The Town Management Division works with all parties at Roppongi Hills, such as the Office Business Department, Residential Department, and TV Asahi, to put together a summer festival that makes use of all parts of Roppongi Hills—and Town Management produces the whole event. Before Roppongi Hills, I think there may have been a concept of Town Management—in terms of the word— but there was not a team or a structure that operated a town in a real world. But now, I think it has become an industry standard—you hear the terms “town management” and “area management” a lot throughout Japan. So, if a person wants to do something at Roppongi Hills, the first point of contact is the Town Management Division. It’s good for all the companies and all the people in that—because there are so many different functions in the town, and all these functions have different interests—having someone who looks at the total picture, and makes sure it is consistent and integrated as one single town, makes things easier.

Let’s talk global—you’ve had some success recently in China and now expanding to Southeast Asia. What do you think most deeply about and give priority to when expanding internationally?

When you look at the percentage of international assets, I think we are probably

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relatively high for a Japanese developer in terms of net percentage. Because we have large volume in China—we have three properties there, including the Shanghai World Financial Center, a 101-story high-rise—the ratio is high. So, the strategy we want is portfolio management in terms of managing the ratio between our projects here in Tokyo and other global developments. In terms of how we go overseas, I think there are two possibilities.

One is mergers and acquisitions, together with acquisition and disposition properties.

The second is what we have done in Shanghai: developing something by ourselves. We really only have interest in the second—going to global cities and developing on our own. So, looking at a lot of the inquiries—in terms of investment overseas—we only choose the ones that we feel offer an opportunity to make a difference by applying Mori Buildingism.

We think Asian cities have a lot of growth potential, and it seems to me that they come to us with many inquiries, asking us to help them as they try to realize their economic growth.

We have a project in Jakarta, Indonesia—a 59-story, 266m-high building in the center of the business district—and we are looking for other opportunities in major cities around the region in which we can expand our presence in Southeast Asia. For our projects in Jakarta and Shanghai, we are the major shareholder, but we also consider doing business globally on a consulting basis.

When dealing with so many foreign countries, communication is very important. How are your English lessons coming along?

I skip some classes, but am continuing. We have quite a lot of bilingual staff, especially the younger staff. We have our International Business Department, and subsidiaries in China and Singapore. Also, our engineers and technical people understand English in their particular field. For example, an engineer understands engineering terms in English. It’s something that I feel is very important to go global.

What do you think about the future of cities, new technology, and the development of the next generation of technology?

We are undertaking collaborative research with the MIT Media Lab at the Massachusetts Institute of Technology, and a large part of that research is to determine how a city should look 20 years from now. And we are also partnering with other cutting-edge corporations and institutions for demonstrative testing here at Roppongi Hills. It took 20 years for the internet to change the way people behave, and I am told that artificial intelligence (AI) and biotechnology will change society again in the next five to 10 years. The speed of change is becoming more rapid, so I think it is important that watch very closely how technology changes. For example, when it comes to AI, automobile makers think about self-driving cars, and security experts think about how it will affect security. For people like us, who manage how people live in the city, we need to cooperate and combine all those elements.

If we’re not aware of how technology is developing and how it is impacting each one of the businesses, we are not able to coordinate.

So, it is very important to be on top of it, watch it closely, and try to be very creative and use our imagination. I think our property was the first in Japan to have Starbucks in the lobby of an office building; but now most have Starbucks or other stylish coffee shops on the first floor.

The conventional way of thinking about an office building was that it is not appropriate for the lobby to smell like coffee. Another first was displaying world news and weather reports on the screens in elevators. Before, you used to see Mount Fuji or a goldfish on the screen. So, we have turned those monitors into quite useful sources of news in the workplace. We were also a pioneer in security. Gates have become the standard in any office building in Japan, but the first installed in an office building for lease was in our ARK Mori Building at ARK Hills. After the 9/11 terror attacks in the United States, we had—and still have—a lot of non-Japanese tenants who are quite concerned about security. Mori Building worked with a local manufacturer to invent and install gates.

So, we have a track record of being the first to deploy and test a lot of new technologies, and being able to imagine how the future of cities should look. This is Mori Buildingism, and we strive to remain a leader in urban renewal.

Article originally from the November 2017 issue of The ACCJ Journal, published for the American Chamber of Commerce in Japan by Custom Media.

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BUYING IN TOKYO Your guide to buying a property...

STORY / ADAM GERMAN

Housing Japan works with you throughout your Tokyo home search, providing their extensive experience of the Tokyo property market to help you find the perfect place.

CONSULTING & FINANCIAL PLANNING Whether you are buying a home, luxury residence or making an investment, Housing Japan will pair you with an expert agent who can help you get the most out a deal.

We begin with consulting with you about what you need, desires and intentions are, and move on to recommending a range of property within your budget and criteria. You will need to have a property in mind in order to discuss financing with a local bank, as they do not provide even a cursory approval for a mortgage before knowing what type of property you intend to purchase. In addition to this, you may wish to gain knowledge on wider tax issues.

SEARCH Your agent will search for a list of property and once you have been presented with these options, they will then take you through the viewings, explaining anything you need to know about the property and its local area.

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You will need an experienced agent who has access to the best, and most up-to-date listed property in Tokyo as not apartments or real estate is listed openly in the market – much is listed privately or off-market.

FINANCING Housing Japan agents are in many cases able to advise in financing and tax issues due to our experience and in house expertise, but in cases where more specialised knowledge is required, we are also able to put you in touch with the appropriate experts.

Housing Japan works closely with all mega banks in Japan as well as several smaller banking corporations and a number of international financiers who can lend on Tokyo property both from within Japan and in select, overseas locations.

APPLICATION When you find the right property, submit an “application to purchase”. This is a nonbinding written expression of your interest to purchase the property at certain price.

An application shows the seller you are serious and will start the negotiation process.

EXPLANATION OF IMPORTANT MATTERS Once the price is agreed your agent will start the contract process. The agent is required

to investigate the details of the property and provide you with an “Explanation of Important Matters”. This document defines all the important terms of the contract.

EXECUTING THE CONTRACT The contract execution usually takes place at the agent's offices and takes about 2 hours to complete. It is typical to pay the owner a deposit of 10% at the time of the contract.

LOAN APPLICATION Although you will probably have pre-approval from a lender, once the contract is complete you can make the formal loan application.

It usually takes a month to six weeks for final approval after which the final closing date can be set. If you're using finance, the contract will have a clause saying that you are applying for a mortgage from a particular bank with a proposed approval date.

complete.

SUMMARY OF COSTS When purchasing a property in Japan, normally the taxes and fees will come to about 5 to 6% of the price of the property.

CONTACT Housing Japan agents are fully bilingual, we offer a world-class service combined with deep knowledge of the Tokyo property market.

Contact us to start your search for a home in Tokyo you will love.

Email. sales@housingjapan.com Call. 03-3588-8861

FINAL SETTLEMENT The final settlement usually takes place at the buyer’s bank and is handled by a judicial scrivener.

The buyer will transfer the remaining balance to the seller's account and the title of the property will be transferred to the buyer.

On completion the seller delivers all the keys to the property and the transfer of ownership is

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GIOIA

A Rising Star of Italian Wine Comes to Japan WRITER / ADAM GERMAN PHOTOGRAPHS / ALFIE GOODRICH SPECIAL THANKS / GIUSEPPE ACCETTA

GIOIA Japan is dedicated to bringing their personal taste to the Japanese market. Housing Japan sat down with General Brand Advisor Guccio Gucci and Principle Oenologist Marco Bernabei to discuss why GIOIA wines are unique and what they have to offer the Japanese market.

Tell us about your wine?

Gucci: Wow, I could talk for days! Gioia is a project that includes many different types of wines throughout Italy. Our production sites are centralized in Tuscany, Veneto and Lombardia and we are currently planning to expand production capabilities to include different wines from different regions. Our mission however, is to express the excellence and top quality of Italian products within the Asian market with the initial focus being gaining a foothold in the Japanese market. We don’t wish to exclude further expansion, say into Canada or the United States, but those endeavors will be much further in the future.

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Why is Japan as a focus?

Gucci: Many reasons to start with Japan but the main reason is we wished to bring the highestgrade wine culture to a country that historically doesn’t have a mature wine market. That said, another close second reason for choosing Japan is because the consumer has a very refined sense of quality. This doesn’t only refer to wines but in regards to food and fashion too.

For Gioia, we feel the Japanese market is ready to embrace the wine experience we are prepared to deliver.

Is Tokyo going to be treated separately or would Gioia look at all Japan the same way?

Gucci: While Tokyo’s gastronomic culture is known as the best the world over, we definitely want to focus on Japan as a whole. If you can please the Japanese consumer, then you have not only the done the product well, but you have also done the customer service that surrounds the sales and distribution done well to a point where transplanting those processes into another market will give us the highest chance of further success. Not only Tokyo but Japan as a whole we feel is also looking for new experiences and our wine is, by definition, a new life experience. Since the food culture here is at a high standard consistently throughout the country, Japan as a whole is key to our success. Marco, you are against factory wine making, favoring hand-made quality.

Why do you think this way and how does Gioia represent your priciples?

Marco: This is a very important question. My family heritage is steeped in wine production for over 5 generations and I also had the great chance to further my own study in France with some of the largest wine producers the likes of Chateux Margaux, Petrus and Romanee Conti.

For me, I’m much more about quality than quantity and factory wine making just didn’t meld well with what I want to see and feel in a wine. I want my product to be very much born from the local area it is produced as well as having the trademark “Made in Italy” feel.

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Gioia is a winning project, bred by experts in all levels of the production process that believe in quality, respect and consideration of the land to the very last vine. Wine produced in Tuscany is very much Tuscan, Sicily very much Sicilian, Veneto very much Venetian.

Therefore, when we decided to move outside of Italy and step into becoming a more global company, we constantly step back and rediscover the local peculiarities unique to our production regions. The true “Made in Italy” feel as currently known throughout the world was curated in the period after WWII in the food, fashion and art markets. In 2018, we feel Gioia is a manifestation of our method of production that offers consumers a wine that is a result of our focus on handcrafted quality steeped in tradition rather than a more modern, industrial feel. When walking around the vineyards, I sometimes find myself not wanting to cut a specific vine due to its perfection. The vine stands out to me not as production quality but more as a specimen that begs for further cultivation research. Without this hands-on approach, I would lose a lot of opportunity to further study, study of which then translates into a continually evolving finished product.

And what about the peculiarities of Florence wine?

Marco: Florence isn’t just a city, it is THE city in northern Italy. It is also the starting territory of Italian renaissance and culture. Gioia in a way too is a renaissance, a new chapter in Italian wine history which is continually rediscovering itself. This is the connection between Florence and our wine. Not only myself but Mr. Gucci hail from Florence which makes it the centre of our universe too.

Speaking of large brands, as Tuscany Wine is a landmark here in Japan, why the not lend the Gucci name to the Wine?

Gucci: The first thing I need to make clear is that I am a wine lover who happens to be a Gucci family member. My family’s company is in no way connected to the Gioia project.

When I was 7 years old, I would often visit my uncle’s small vineyard in Tuscany. This was

when I first fell in love with the wine making process. Growing up, I made a point to visit my uncle often and learn more and more of the trade, becoming proficient in the use of the roncolino which is a small knife used to cut grapes. What my uncle instilled in me is an appreciation of the small amount of life that is put into every bottle of wine, a feeling that is shared with others when drink the finished product. Wine is a world wide language and wine can be considered a message with many words.

How did you guys originally meet each other?

Gucci: Ironically, we were introduced to each other by a Japanese person, a common friend, in Italy. After 10 minutes of talking it was very clear that Marco and I were on the same wave length in our attitudes towards wine making.

We were instantly compatible and Gioia initially began over a conversation over dinner.

I remember leaving that dinner thinking Marco is a person I can rely on. Wine is a passion for me but not a profession. Marco proved he has the knowledge and awareness to understand what I wanted to see bottled, which I confirmed when I drank the first batch we made working together.

beverages. Sake has a strong cultural impact here and clearly there are more resources available to honor those traditions rather than produce wine.

Limiting the discussion to wines though, there is a lot of global variety that regions can be famous for. Canada is a good example of being famous for ice wine. Ice wine, while wellknown and deservedly popular, is not what would be considered as a traditional wine but more of a modern spin on an old technique.

Traditional wines are more known in areas like California, Italy, France, Chile and South Africa; each with their own unique flavors.

China has recently announce 100,000 hectares of land to be set aside for wine production which, over time will lead to a new, unique variety with East Asian textures that could end up monopolizing the Asian market on day.

Notwithstanding, the Japanese market on the other hand has plenty of respect for quality, history and tradition regardless of whether it is Japanese or not. These cultural qualities make Japan stand out for us as a natural market for us to expand distribution as we feel the Gioia experience will resonate with the stringent and discerning Japanese tastes.

How old is your wine?

Marco: It depends on the different kinds but usually aged between 1 to 4 years. Within the Gioia project is the production of a Brunello, Classic Chitanti and Amarone. These varieties need much more time to age properly so it will be longer before they are ready for market.

These lines will be released within a few years.

Most of our products were initially produced years ago and what is on the market now is only a slice of the Gioia selection. Our project began in 2014 so at present it is only possible to enjoy our 2015 wines, wines that can still be appreciated with a low age. Much more is to come, noteably our 2015 Franciacorta wine.

What do you think of the Japanese wine industry?

Marco: Japan is getting better towards wine production however the country is much more fluent historically in producing rice-based

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Housing Japan Spring 2018

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RUGBY WORLD CUP IN JAPAN In Japan for the first time; the experience of a lifetime.

STH Japan kicks off sports hospitality with the 2019 Rugby World Cup.

BY ADAM GERMAN THIS PHOTO | DEREK MAKISHIMA

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by ADAM GERMAN

Sports Travel & Hospitality (STH) Japan is the exclusive provider of sports hospitality for 2019 Rugby World Cup. David MacCallum, STH Japan’s Commercial Director for Asia, discusses how his f irm will establish a new spectating style at sporting events never before seen in Japan.

Tell us about STH’s history with World Rugby?

STH is a joint venture business between Sodexo, a global food services and facilities management company, and Mike Burton Group, one of the UK's leading sports travel and hospitality businesses. On the one hand you have a family owned travel and tourism company and on the other catering global multi national company. Put the two together and you have STH Group.

STH Group’s relationship with World Rugby goes back to 2007 in France, then 2011 & 2015 and now 2019 in Japan but prior to that STH Group’s two shareholders were involved in World Cups in separate aspects.

Here in Japan it is about creating sustainability

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beyond the tournament which is why we teamed up with Japan Travel Bureau (JTB) and created a local joint venture which is STH Japan. The view is the sustainable, long term development of sports hospitality in the country and across Asia.

How has it been working with JTB so far?

JTB has been a fantastic partner for us. STH is a British company that has worked on major global events but never in Japan and JTB could see the multitude of benefits an association would bring.

They have enormous credibility and have local expertise in the culture here which is key for us to succeed. It makes a really nice balance as we combine the western experience and knowledge with their local resource and expertise so we can adapt to the environment we may not have been able to do on our own in the time allotted prior to the games.

I’m a customer who will buy the most expensive package priced at ¥39,000,000, what can I expect my experience to be like?

Well, the package you're referring to is the Webb Ellis private suite package which is a VIP hospitality experience at all the 7 major matches at Yokohama, each match allowing 20 guests. That means a total of 140 guests you can invite to the games.

That said, this isn’t about simply buying tickets and watching the games. You'll be sitting in the best seats available for purchase at the match. Before and after each match, in purpose built structures, you’ll experience live entertainment and F&B inclusive

in VIP fashion immediately adjacent to the stadium.

How’s it going so far?

An extremely positive start but of course not without it’s challenges. Our customers are mainly corporates and since we are the first company to come into Japan and create a proper sports hospitality offering, most customers have to imagine what the environments will be like. We have produced materials from England in 2015 that we promote but at the moment there is a lot left to the imagination of the client.

It sounds like something similar to what we feel in luxury property development; the Japanese buyer will look at proposed floor plans with western amenities and say “nice idea but…” It is only when the development is finished and they can smell and feel the atmosphere will they say “I want it.” Is this something you are feeling at this stage of promotion?

A very good analogy, but we are working hard at the moment to prevent that from happening.

“In Japan for the first time, the experience of a lifetime” is the line we are rallying behind.

When the matches are done, they’re done so we are working hard with corporates to have them fully understand what the experience will be like prior to it becoming too late. It may not be a natural Japanese concept but you’ll want to invite your competitor’s clients before your competitors beat you to the punch.

Simply put; it is the ultimate of icebreakers?

Definitely. It is guaranteed to be a memorable occasion and 6 hours with a client or guest, building that relationship and sharing those experiences is what it is all about. Sport has this ability to provide a unique experience and bring people together in a non-office environment. You can’t get that experience anywhere else; no expensive dinner or outing can match what sports can. Everyone still talks about 2002, referring to the soccer World Cup.

It was the last major global event that has come to Japan. It was a huge success and those that watched the games live in any capacity will still remember the matches they were at and the feeling it gave them.

For enquiries, contact David at david.maccallum@ sthjapan.com mentioning Housing Japan, or visit www.rugbyworldcup.com/hospitality.

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Famous flavor.

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PRIVATE DINING ROOMS AVAILABLE.

Ushigoro, nestled in trendy Nishi-Azabu, is one of Tokyo’s most in-demand yakiniku experiences. Enjoy the exquisiteness of wagyu in clean, sophisticated surroundings.

Reservations are difficult to come by, but well worth the wait.

USHIGORO S. Tel: 03-6419-4129 • Open: 5 p.m.–midnight Barbizon 73 B1F, 2-24-14 Nishi Azabu, Minato-ku, Tokyo

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ushigoro-s.com

Sport has this ability to provide a unique experience and bring people together in a non-office environment.

You can’t get that experience anywhere else; no expensive dinner or outing can match what sports can.

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BUILDING LEGACIES AT NIHOMBASHI MITSUKOSHI In 2016 the Japanese Agency for Cultural Affairs announced that Nihombashi Mitsukoshi would be designated an Important Cultural Property, a momentous year in Mitsukoshi's history, as Japan’s first department store joined other landmarks recognised for their cultural contribution.

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Take for example the Lion Entrance that for many is now the main gateway to the store, but wasn't always so, having been installed in Taisho 3 (1914).

For the generation who stepped off the Ginza Subway Line in April of Showa 7 (1943) a passageway designed by French interior designer René Prou was their first point of contact, while the generation who used to take the entrance that faced the Bank of Japan would be shocked to find it is now a staff entrance, even as its marvellous detailed ceiling remains in place. Thus there is a certain irony to Nihombashi Mitsukoshi being awarded by the nation, as its iconic features evolve with

was to found the kimono dealer Echigoya in the heart of this emerging city that would later grow into the Mitsukoshi we know today. Needless to say, the lack of photography prevents us from getting a direct sense of what this first iteration of the store must have been like, but fortunately the ukiyo-e woodblock print art of the era not only captures the architectural form but also the lively Suruga cho taken in Meiji 7, 1874.

As visitors to Nihombashi Mitsukoshi can attest to the building is not just a museum or landmark in the simple sense, rather Nihombashi Mitsukoshi's place in history is as a constantly evolving entity taking in the culture beyond its walls.

The Lion Entrance.

atmosphere. The earliest, dating to Enpō 1 (1673) — the very year the store was first opened, finds a cross section of Edo life in a very different setting to the one you can find today, with a raised tatami-matted shop floor largely free of merchandise and the staff fetching every item from the store room as required in a distinctly Japanese setting.

Even so, this is a world not entirely disconnected from the present with the figures offering tea to visitors still part of the omotenashi service of the store in certain places, and the bold noren merchant curtains at the entrance a familiar sight over the New Year and other occasions.

Ukiyoe of Suruga-cho: Kiyochika Kobayashi, 1868

right through to the Mitsukoshi Theater and Special Dining Room — all reflecting the eras they were built in.

The Origins The first year of Enpō (1673) in Edo era Japan was the period largely responsible for the growth of present-day Tokyo. It was Takatoshi Mitsui who

Echigoya taken in Meiji 25, 1892.

the era and aesthetics of the time. A walk through the store is a walk through history itself as the mix of architectural styles includes everything from classical columns to the art deco-inspired tower, the vaulted stained glass ceiling of the Central Hall,

So how did this highly traditional Japanese earth building make such a transformation? The answer again can be found in the art of the era, where we find frequent depictions of the store in the heart of bustling Edo, whether in famous views of Mount Fuji or from the literal center of Edo, the Nihombashi bridge. It is this placement that is key, as it put Echigoya at the fore of the rapidly growing merchant culture of Edo. As we give way to Meiji (1868 - 1912), the store continued to be at the epicentre of change, one exemplified by views in ukiyo-e capturing the store in the company of the Housing Japan Spring 2018

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Tatami-matted women's umbrella and footwear sales floor photographed in Meiji 41 (1908).

The Advent of Meiji It is worth remembering that at the beginning of Meiji the store was still focused on kimono, but as it changed its trading name from "Echigoya" to the general partnership company "Mitsui Gofukuten" in Meiji 29 (1896), it reflected the changing fashion of the city beyond gradually incorporating Western tailoring into its repertoire. This in itself was something of a revolution, as until this point Japanese merchant culture was generally focused on each shop being an expert in a single subject, very rarely moving beyond its field.

Tatami matted kimono section displays, Meiji 28 (1895).

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In parallel with the store itself actively seeking fresh ideas from abroad where department-segmented shopping in a single store had long been popular was the decision for the store to declare itself Japan's first department store by Meiji 37 (1904), joining the institutions around it in Nihombashi in seeking their own renaissance to match the era.

In three short years the store had opened its very first cafeteria within the shop and a fine arts Louis XV style lounge photographed in Meiji 41 (1908)

new Western-style buildings in a Nihombashi area now synonymous with an aggregation of power, money and cultural influence. Here we find Nihombashi Mitsukoshi at the dawn of modernity, but still very much a reflection of the past. By the time the first recorded photographs of the store were taken in Meiji 33 (1900) this dialogue between the store's lengthy history and modernity was well and truly underway. While Meiji 29 (1896) had seen the store renamed as Mitsui Gofukuten, meaning it was still predominantly a kimono seller, it had established a Western-style tailoring department as early as Meiji 16 (1883). This is echoed in the building itself where we start to see a hybrid approach to architecture incorporating a merchant facade with hints of Western architecture in the shape of the roof and addition of windows that resonated with tastes in the Nihombashi area as a whole.

department by Meiji 40 (1907), revolutionary for the time. In this period the wooden structure of the store captures it in a state of flux, at points finding new Western novelties such as straw hats framed in distinctly Japanese settings, and at others offering open layouts with glass cases that are not dissimilar from the present were it not for the tatami floor.

Along with Western ideas and products, the first wave of foreign customers were greeted in store, with special lounges built in an opulent Louis XV European style. The importation of modern institutions such as the neighboring Bank of Japan necessitated buildings to match, and in this period we see a rapid expansion of stone architecture in the Nihombashi area, extending to Mitsukoshi itself. New building work was set in motion in Meiji 44 (1911) with the store that emerged being one that would be familiar to us today.

The Upheaval of Taisho Our journey through the history of Nihombashi Mitsukoshi now takes us to the Taisho era (1912 - 1926). As we saw, the preceding Meiji period is characterised by a dialogue between Japanese tradition and new culture garnered from the West.

However, as we enter Taisho a subtle but important

change takes place: in conjunction with the bold building works instigated in Meiji and completed in Taisho 3 (1914), which rendered the building completely in stone, we see in the store not a constantly shifting mix of cultures, but the advent of a fixed hybrid culture that does not draw a hard line between Japan and the West. This new identity born of modernity was exemplified by the installation of the new face of Nihombashi Mitsukoshi, of one of the most popular symbols of the store: the lion statues.

progress unimpeded and the lion statues stationed once again at the front entrance.

The Splendour of Showa If the previous era was defined by a hybrid culture, the store that rose in the Showa era presented a more complete vision of Japanese modernity. Of this new store's defining features that you can still enjoy today, the Mitsukoshi Hall, now renamed the Mitsukoshi Theater, stands out. It has proved to be a vanguard for the performing arts since its incep-

October Taisho 3 (1914). Intersecting staircases in the Central Hall of Nihombashi Mitsukoshi.

tion and features stunning stained glass adorning arches and sumptuous wooden carving throughout.

One can only imagine the impact it must have had at the time. In Showa 9 (1934) the Special Dining Room was opened, an opulent setting designed by 30 motorcars stand ready for deliveries: north side of Main Store in Showa 6 (1931)

French designer René Prou, alongside a direct entrance to the newly completed Ginza Subway Line.

Looking Back and Moving Forward Starting from Showa 31 (1956) the Main Store building became the core of a rapidly expanding structure that eventually would cover the lion's share of the block where the original store once stood, culminating in the building of the Annex, which overlooks Nihombashi bridge, in Heisei 16 (2004). Beyond the structure and architecture of the The Special Dining Room offered a beautiful setting for fine dining from Showa 9 (1934)

The sheer scale of this new stone building complete with gleaming bronze lions and electric lighting was clearly a sight to behold in the era, becoming a community gathering point that drew people from far and wide. Accordingly we find some elements that reflect the striking difference between old and new life. Japan's first escalators and elevators carried customers between floors, Western-style tables and chairs for sale could be found sitting on tatami, while Japanese traditional wagasa umbrellas jostled for space with their Western peers. In this era the building became a portal to modernity, visitors welcomed wearing kimono, yet being introduced to new Western products that would go on to revolutionise their lives. This vision of modern Japan was quite literally shaken to its very foundations in Taisho 12 (1923) when the Great Kanto Earthquake decimated the Nihombashi area leaving very little in the capital unharmed. In the midst of this destruction, a temporary store was immediately opened and just two short years later in Taisho 14 (1925) the store would reopen, its spirit of kinetic

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October, Heisei 16 (2004) saw the opening of the completed Annex Building to the Nihombashi Mitsukoshi Main Store.

Installed in Showa 35 (1960), the statue is a masterpiece by carver Gengen Sato (1888-1963), who spent over ten years on the piece working with 500-year-old cypress tree wood, and symbolises "sincerity", a founding principal of Mitsukoshi.

Also of note are features that aren't protected by the government-ordained status — the intangible traditions that the store itself preserves. The mid-Showa period also saw the storewide use of Genichiro Inokuma's iconic "Hana-Hiraku" print on its wrapping paper in Showa 26 (1951) that is still in use today.

As you walk though its thoroughly contemporary setting don’t forget the history you are now part of.

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Mitsukoshi's iconic Hana-hiraku as it appeared in Showa 29 (1954)

The next chapter of the Nihombashi Mitsukoshi story will be in autumn 2018 when the renewed store will open to the public.

The Magokoro statue installed in 1960. It is still the centerpiece of the Central Hall.

building it is worth remembering that even some of the fittings are protected as Important Cultural Properties. Perhaps the most prominent, and one that never fails to take a visitor's breath away, is the Magokoro statue in the Main Hall.

Changing Fashions The Uniforms of Nihombashi Mitsukoshi

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PHOTOS THIS PAGE: 1. Meiji 42 (1909) The Advent of Mitsukoshi's "Messenger boys".

2. Meiji 42 (1909) Foundation of Mitsukoshi's "Boy's Troups". 3. Meiji 44 (1911) "The Attendant Boys of Mitsukoshi".

CONTEMPORARY UNIFORMS: 4. Showa 48 (1973) Elevator Girls 5. Showa 49 (1974) Women staff at the sales floor 6. Showa 49 (1974) 7. Showa 60 (1985) 8. Heisei 3 (1991) 9. Heisei 12 (2000) 10. The Nihombashi Mitsukoshi uniform that will greet you in store today.

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For children from 15 months to 6 years old Children can sign up for one week, two weeks or the whole summer.

We have a different theme every day to fully enjoy this summer!

Our Summer Fun application form and more information can be found on our website. 【Sign up deadline: May 15, 2018】 We look forward to seeing you there!

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Join us er! m m u s s thi

TEL. 03-3453-0811 / info@summerhill.jp 2 chome 13-8 Motoazabu, Minato-ku, Tokyo 106-0046

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PART OF THE FAMILY Summerhill International School celebrates each child Curiosity is an important part of education, and Summerhill International School makes inquiry-based learning a core part of the program. Director Kathryne Imabayashi explained that, after new owners took over in 2015, the intent was to maintain the wonderful things about Summerhill while expanding the opportunities for children.

THE PROGRAM One step on this path is the International Baccalaureate (IB), which is taught in more than 109 countries and guided by six transdisciplinary themes.

learn. This comes in the form of a three-day IB workshop held in Yokohama each fall as well as in-house workshops.

“It offers a framework and provides enough structure to give teachers the support they need while still giving teachers and children enough freedom for creativity and innovation,” Ms. Imabayashi said.

“This year, all the lead teachers and everyone new to that section had more training and—for the first time—two of the lead teachers in the ‘under-threes,’ myself and the coordinator, went to an early childhood conference in Korea that had an emphasis on underthrees,” Ms. Imabayashi explained.

In the early childhood program, a “free-flow day” is what she believes is most powerful for children’s learning. “If we have a program where the focus is on inquiry, we don’t want to stifle that because of time constraints.”

Alongside this are regular parent workshops, held at least once a month and led by the Primary Years Program coordinator. Ms. Imabayashi conducts additional workshops, which look at pedagogy and parental support.

Multiple considerations come into play when choosing a school, whether it be location, a match with a previous school, or a specific curriculum.

MAKE THE GRADE

“The most important thing you should be looking for at a school is that each child is treated as an individual and learning is differentiated based on that, no matter if they are 15 months or six years old. It’s the same amount of respect for learning that needs to go on,” she said.

TEACHER TIME With its focus on professional development, the IB program also opens up opportunities for teachers to

A low student–teacher ratio and highly dedicated, passionate staff who focus on improving skills and craft are highlights of Summerhill. Forward-looking methods of education—such as the ‘light Atelier,’ where children can dive into creativity in a fun environment using light tables, mirrors, prisms, and shadow screens to test their theories about the qualities of light—also set the school apart.

But, ultimately, the core values at the root of Summerhill are what make it special.

“If I was the parent, what would attract me here is how it makes me feel each and every child is truly valued,” Ms. Imabayashi said.

Two things that make Summerhill different are environment and community. In such a colorful and happy space, the feeling of family provides support and reassurance—no matter from where the child is from.

03-3453-0811 School day: Monday–Friday, 9:00 a.m.–2:00 p.m.

After school activities: 2:00 p.m.–4:00 p.m.

Aftercare: Monday–Friday, 2:00 p.m.–5:00 p.m.

2-13-8 Moto-Azabu,Minato-ku, Tokyo 106-0046

www.summerhill.jp Housing Japan Spring 2018

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st alban's nursery Learning. Love. Laughter.

St Alban’s Nursery, close to Tokyo Tower, offers a select program of learning and self-discovery for English-speaking preschoolers of all nationalities, based on the Montessori method. Now independent, but still located in the quiet, leafy surrounds of St Alban’s Anglican-Episcopal church, the nursery is open to children of all denominations and cultures, focusing on the individuality of each child in a caring, very personalized atmosphere, under the warm leadership of program director Gilma Yamamoto-

Our programme introduces your child to a formal education while embracing the idea that every child is smart in his or her own way.

We strive to create a small, safe and secure environment that will provide your child with a real sense of belonging. Our curriculum is aligned with the U.S. Department of Education’s Common Core Standards, and exceeds the guideines set forth by the National Teaching Associations for the Education of Young Children (NAEYC). Our teaching method, the 8-Smart System, is based on the extensive research and theories of child development expert Dr. Howard Gardner, professor of Education at Harvard University.

Copeland and her staff.

- large enclosed outdoor playground - parents welcome at all times

3-6-25 Shiba-Koen, Minato-ku, Tokyo 105-0011 tel: 090-6480-4542 email: gilma.yam@gol.com www.saintalbans.jp StMaur_1-4.pdf

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Kindergarteners are eager to explore, investigate and discover the world around them and a Saint Anne education can make a difference in how much they learn and grow.

ê Free daily extended childcare to 6pm is available!

SAINT ANNIE’S INTERNATIONAL SCHOOL 1-5-3 Tomigaya, Shibuya-ku, Tokyo Tel: 03-6407-9221 kids@saintannie.net www.saintannie.net

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Saint Maur International School Pre-K (Age 2-1/2 ) to Grade 12 —Coeducational Quality education within a caring family environment since 1872 École française du CP au CM2 depuis 2007

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• Montessori Pre-school • International Primary Curriculum (IPC) • International General Certificate of Secondary Education (IGCSE) • International Baccalaureate Diploma Program (IBDP) • Advanced Placement (AP) ON LY • SAT Reasoning Test • SAT Subject Tests • PSAT/NMSQT Cen a l T tr • Trinity International Music Examination

Conveniently located in central Tokyo, Nishimachi offers a co-educational education in English for students K–9. All students

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study Japanese daily. Nishimachi’s mission is to educate all

✓ Accredited by the Council of International Schools & New England Association of Schools and Colleges

✓ Registered as Gakko-Hojin by the Japanese Ministry of Education, Culture, Sports, Science and Technology

students to be internationally minded and independent thinkers.

Nishimachi’s rigorous academic reputation is internationally well-known and is based on our unique history, English–Japanese language programmes, and multicultural approaches to learning.

83 Yamate-cho, Naka-ku, Yokohama, Kanagawa 231-8654

Tel: 045 641 5751 | Fax: 045 641 6688

www.stmaur.ac.jp

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Housing Japan Spring 2018

Nishimachi International School | www.nishimachi.ac.jp 2-14-7 Moto Azabu, Minato-ku, Tokyo 106-0046 03-3451-5520 | admissions@nishimachi.ac.jp

HAKUBA INTERNATIONAL SCHOOL Natural Assets: A program for your kids in the Japan Alps Classes are held in ski lodges looking out over some of Asia's most pristine landscapes. Digital Communication is taught at the foot of an Olympic ski slope, while confidence and curiosity will be fostered from specialist workshops taught held across the Japanese Alps.

This is Hakuba International School, a newly formed entity with the goal of creating an International School in Hakuba. The school is currently accepting students for one-week spring and summer programs, with applications coming in from all over the world and lessons taught in English.

stunning nature, world-class amenities and a friendly community.

Students come from Japan's international residents, as well as local Japanese families and increasingly, from further afield. The planned school will be coed, for grades 7 to 12 with boarding facilities and the curriculum will be based on the International Baccalaureate, with an emphasis on sustainability, the outdoors and technology.

For more information, contact Tomoko Kusamoto at tomoko. kusamoto@hakuba-is.jp

The school welcomes children aged 12-16 in classrooms and boarding facility that have been specially converted; all set within the stunning backdrop of the Hakuba resort in the Japanese Alps.

How inspiring will it be for pupils to learn digital skills in an environment rich in culture and beauty, rather than having to turn to a book? Hakuba became famous for its long ski season and incredible powder snow, but during the spring and summer months, a verdant countryside with clear air, pure water and striking scenery emerges. For students seeking inspiration, they will simply have to look up, or go for a short walk, to be richly rewarded.

Founded and administered by Tomoko Kusamoto, formerly of Morgan Stanley and Goldman Sachs, and an MBA from UC Berkeley, the school is well placed to educate the emerging generation of global leaders. Hakuba was the main site for the 1998 Winter Olympics and has since gone on to evolve into a world-class resort, that like Niseko, has established itself as a major destination for those seeking Housing Japan Spring 2018

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Treat your feet right We provide orthotic prescriptions and treat common conditions such as bunions, corns, ingrown toenails, sports injuries and knock knees.

We are your footcare experts.

TOKYO PODIATRY CLINIC The only podiatrist in Japan

DR. KOJI KAWAMATA

ACCESS: ¡ 3F, 5-34-7 Shinbashi, Minato-ku, Tokyo ¡ 3 minutes walk from Onarimon Station ¡ 8 minutes walk from Shinbashi Station ¡ Opening times: Weekdays 09:00–18:00, Saturday 10:00–15:00

For appointments call: 03-6875-2970 ¡ tokyopodiatry.jp

} Certified in Australia

and New Zealand.

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Specialist in general and sports podiatry.

! y il m fa le o h w e h t r fo FUN BE ACTIVE Get jumping, sliding, pedalling and climbing in our playground.

BE CREATIVE Try your hand at gymnastics, arts and crafts, and science.

LET’S CELEBRATE Plan a party for your little one’s big day!

anebytrimpark.com/en/about

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ANEBY TRIMPARK ODAIBA Venusfort 1F 1-3-15 Aomi, Koutou-ku Tokyo 135-0064 Tel: 03-5500-2300

ANEBY TRIMPARK LABO MIZUHO The Mall Mizuho 16 3F 623 Takane Mizuho-cho, Nishitama-gun Tokyo 190-1203 Tel: 042-557-8591

ADVERTORIAL

PLAYTIME Gymboree fosters parent–child interaction and learning through play Gymboree’s unique play area, designed by Jay Beckwith, known as one of the fathers of the modern playground, holds great significance to both children and parents at Gymboree. In class and during the daily play gyms, children can explore the equipment and test their adventurous side while moms socialize with other moms.

“Children gain social and cognitive skills and self confidence naturally while playing in our gym room,” said Yamada.

Started 40 years ago by a mom in San Francisco, Gymboree Play & Music was designed as a place where moms and their children can learn and play together in a fun, educational setting.

Educating parents on how to play with their child and nurture their development is our main goal.

Today, Gymboree is a global brand, with more than 700 locations in more than 40 countries, including three full-time branches in Japan—two in Tokyo, in Motoazabu and Jiyugaoka, and one in Sapporo—as well as on-the-goclasses running in Nagoya.

The school’s “Mommy and Me” programs are recognized for their unique approach to parent involvement, which encourages participation in and understanding of each child’s development.

The school’s standardized program and lesson plan rotation allows it to offer the same lesson plan wherever the customer is in the world. When members travel to another country with a Gymboree location, they can attend two free classes and play gyms while they are there.

OFFERING SOMETHING FOR EVERYONE Gymboree’s wide variety of programming for infants up to six years old and its flexible make-up policy allow families to choose the class that best fits their child’s needs and interests at that time.

The school encourages its teachers to form a strong relationship with the families in their classes, which is why many of the teachers are bilingual. Teachers are always there to answer questions from parents and give them advice on their child’s development.

“Coming to Gymboree is a great way to make friends for moms and kids alike,” said Yamada. “Families can experience language and cultural exchange while playing in our spacious gym room or enjoying snacks in our waiting room.”

FUTURE PLANS “We see kids that are more confident physically, socially, and cognitively, because their parent or guardian is there,” said Nicole Yamada, who—along with her husband—is the master franchisee of Gymboree Play & Music in Japan.

IT ALL STARTS WITH PLAY While at Gymboree, parents and teachers are encouraged to follow the lead of the child and participate in as many of the activities as possible. The classes involve a lot of role-play activities, which help children learn new vocabulary and use their imaginations.

“Everything is based on play,” said Yamada. “Through play, children learn rules, how to communicate and socialize, how to take turns, and even how to share toys.”

In the near future, Gymboree plans to add two exciting programs: a play lab and a baby lab. The play lab is a program for children aged between two and five that is based on science, technology, engineering, art, and math.

For this, Gymboree will introduce building blocks, a light table, magnetic tiles, and simple science experiments.

The baby lab will be available for infants aged up to 10 months and will allow parents and babies to explore lights, sound, and various forms of tactile play.

Gymboree is also planning to extend their preschool program from 12:30 to 2:00 p.m. from April.

www.gymboglobal.jp/en Housing Japan Spring 2018

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GRAVITAS

MINAMI-AZABU World class luxury, in prime central Tokyo that sets a soaring level of quality.

by ROBIN SAKAI. Photos: DEREK MAKISHIMA.

An outstanding luxury, freestanding house, over 400 sqm in size, located in prime central Tokyo, now for sale.

Conceived and constructed to bring world-class design and scale to the fashionable Minami-Azabu neighborhood, the home boasts four bedroom suites, a two-car garage, entertainment room, wet and dry kitchen, private roof terrace and a living room with panoramic views across central Tokyo.

Features that even the finest condominiums struggle to offer, built in as standard.

For more information please contact Housing Japan Sales at: sales@housingjapan.com Or call +81 (0)3 3588 8861

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Housing Japan Spring 2018

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GRAVITAS

MINAMI-AZABU

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We design for ONE’S life and dreams.

Interior Design and Renovation in Tokyo

TOKYO OFFICE Ryoshin Onarimon Bldg. 7F 6-17-15 Shinbashi, Minato-ku, Tokyo Tel: +81 (0)3 6758 3535 For more information, please email: post-onesd@koyou.co.jp

www.koyou-onesd.co.jp/en

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