AERIS March Issue 2012

Spring Issue: A Tribute to Japan, One Year On (Mar-May ‘12)

Inspire Your World CNN’s Anna Coren:

what the world can learn from Sendai CNN主播Anna Coren: 当今世界可以从仙台事故中学到什么？

Geisha World, Goblin Isle...

Spirited away to Kyoto and Shikoku 艺伎的世界，精灵的岛屿...探秘京都与四国 Michelin-starred, easy Japanese recipes for home 米其林点缀的简易家用日式食谱

Alessandro Cremonesi, Jil Sander CEO: why China’s retail future is offline 为什么说中国零售业的未来将脱离轨道？

Creative flair meets commercial success: Murakami’s Muse 村上传奇：当创作才华巧遇商业成功

Shigeru Ban, ‘recycled paper’ architect: why permanence is overrated “再生纸”建筑师坂茂： “可持续性”被高估的原因。

Aeris what’s in?

Mar-May 2012 07 53 63

Perspective 视野

CNN’s Anna Coren: Remembering Senadi CNN记者 Anna Coren: 纪念仙台 Natsuko, Blush: The show that went on Natsuko Blush: 对表演事业坚持不懈 Shigeru Ban: On recycled paper architecture Shigeru Ban: 再生纸建筑

TRAVEL 旅游

14 Kyoto’s cherry blossom charm 京都之樱花赏 25 Shikoku: land of goblins… 四国岛: 精灵的国土 29 Downtown cool in Osaka 大阪闹市游 31 AERIS essential JP travel tips AERIS 日本旅行必备贴士 12 22 49 58 41 42 58 32 56 34 40 60

ART 艺术

Takashi Murakami: ‘Low’ art for high society Takashi Murakami: 给上流社会的“低俗”艺术 Geisha World 艺伎的世界 Mariko Jesse: An illustrious career Mariko Jesse: 辉煌的职业生涯 Tracing the history of manga 追溯日本漫画历史

FASHION 时尚

Harijuku Hip 原宿潮流史 Jil Sander CEO – why China’s retail future is offline Jil Sander CEO – 为什么中国零售业将在未来偏离轨道 Spring Swing 春之旋律

Tech 科技

All New Apps 新兴手机应用软件 Tesla’s Tokyo Drift Tesla: 从日本到中国

DINING 美食

Michelin-stared Japanese at home 米其林点缀的日式家庭食谱 Chinese roots of Japanese cuisine 日本美食的中华根源 Canadian-Japanese culinary innovation 在加拿大的日式烹调新发明

The Team Amanda Siew (Founder) Amanda is an aspiring dermatologist who recently completed her degree in Medicine & Surgery in England. Raised in London and Hong Kong, she started working as a part-time model with Elite Model Management at the age of 16. Drawing on her experiences in modelling, fashion and internet publishing, she founded AERIS Magazine in 2010. 她最近在英国完成了医药及内外全科医学 士学位，是一个有志向的皮肤科医生。她 在伦敦和香港长大，十六岁时以在Elite Model Management 当兼职模特儿开始她的 事业。得到模特儿、潮流时尚和网页出版 的经验，她在2010年创办了Aeris Magazine.

Grace Brown (EDITOR-IN-CHIeF) Grace graduated with double Bachelors of International Studies/ Law from Sydney University. She gained journalistic experience at Star World, APV, Channel Seven, CNN and Bloomberg. Raised in Hong Kong, Grace speaks fluent Mandarin and is passionate about business, people, fashion and art. 在悉尼大学的国际研究及法律双学位毕 业。她在Star World, APV, Channel Seven, CNN 和 Bloomberg得到了资讯传播的经验。在 香港长大，Grace能说流利的普通话和对商 业、人物、潮流和艺术充满热情。

Cherry Ng (MANAGING Director)

Jessica Li (DESIGN EDITOR)

Cherry was born in Hong Kong but has lived in Sydney, York (UK), Beijing, and Lima. As a Cantonese, English and Mandarin speaker she enjoys learning about different cultures and travelling.

She enjoys salsa dancing and meeting new people. Her work experience has ranged from selling in the top recyclable ink cartridge company in China to caregiving for children in Peru.

在香港出生及长大，她正在伦敦的中央圣 马丁艺术与设计学院修读插畫及图像设 计。她是一个自由设计师，并且对不同文 化背后的视觉语言怀有浓厚兴趣。

Jessica was born and raised in Hong Kong, is currently studying Graphic Design and Illustration in Central Saint Martins, London. She works as a freelance designer and is interested in the visual language behind different cultures.

她在香港出生，但曾在悉尼、纽克、北京 及利马居住。能说广东话、英语及普通 话，她享受学习新文化和旅游。她也享受 跳萨尔萨舞及结识新朋友。她的工作经验 的范围包括从在中国顶尖的可回收墨盒公 司当销售到在秘鲁照顾小孩。

Ernest Chan (Technology Editor)

Sophie Bent (Communications Director)

Ernest obtained his Bachelor of Business Administration from the University of Hong Kong. He is an accountant by profession and, motivated by his immense interest in new technology, has established Oats and Barley, a digital marketing consulting agency. His many hobbies include travelling and sports.

Sophie was born and raised in Hong Kong, before graduating with a Master of Strategic Public Relations from the University of Sydney. With a passion for hiking, politics and new places, her work experience includes Burson-Marsteller, Hong Kong Disneyland and Mandarin Oriental, Hong Kong.

Ernest於香港大学的工商管理学士学位毕 业。他本身拥有専业会计的资格，源於他 热爱新科技的推动下，Ernest合资成立了 Oats and Barley，一间数字营销(Digital Marketing)的顾问公司。他的兴趣很广泛，其 中包括旅遊及运动。

在悉尼和波士顿完成商业学士学位之 前，在香港出生和长大。她现在正在读 策略性公共关系硕士。她的工作经验包 括Burson-Marsteller, Hong Kong Disneyland, Hongkong Land, Jardine Airport Services Group and the Mandarin Oriental.

Chong SHAO (Deputy Editor) Chong holds Arts and Law degrees from the University of Sydney and is currently studying psychology. He has, along with a passion for writing, an unusual fondness for editing and proofreading. Always keen to learn and experience new things, Chong’s interests include travel, philosophy and jamming with friends.

Chong在在悉尼大学获得了艺术与法律文 凭，现正在进修心理学。他对写作抱有很 高的热情，并同时嗜好编辑和校对。他总 是喜爱学习和接触新事物，他的兴趣包括 旅行，哲学，与朋友相处。

Christopher siM (FOOD EDITOR) Christopher is an engineer with a passion for food and travel who formerly wrote for the Imperial College newspaper. Having lived in London and Melbourne he is now living in Amsterdam and writes in between international projects as a chemical engineer. 是一个对美食及旅游充满热情的工程师， 并曾经为伦敦帝国学院校报撰写文章。曾 在伦敦及墨尔本居住的他现居于阿姆斯特 丹。作为一个化学工程师，他不时为国际 计划撰写文章。

Caroline Gui (CHINA EDITOR) Caroline was born and raised in Hunan province, and later moved to Shanghai.

She is studying Advertising in The Chinese University of Hong Kong. As a Mandarin, English and Cantonese speaker, she enjoys writing and translating, gaining experience at Xin Hua News Agency. She loves branding, ancient Chinese literature and traveling to unheard of places in China.

Caroline在湖南出生长大，后迁居上海。 如今在香港中文大学修读广告学硕士。她 会说普通话、英语和粤语，擅长写作、翻 译，曾在新华社获得过记者经验。她热爱 品牌策划和中国古典文学，并喜欢探索旅 行中国鲜为人知的地方。

FOUNDER: Amanda Siew EDITOR-IN-CHIEF: Grace Brown Deputy Editor: Chong Shao Perspective Editor: Chong Shao Travel Editor: Chong Shao Food Editor: Christopher Sim Technology Editor: Ernest Chan Fashion Editor: Grace Brown Contributing Writers: Sophie Bent, Sarah Spencer Chinese Editor: Caroline Gui Chinese Sub Editors: Bob Qian, Cathy Tang, Keely Kuk

DESIGN EDITOR: JESSICA LI

Managing Director: Cherry Ng Communications Director: Sophie Bent

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Foreword

March- May 2012

Dear reader, Welcome to AERIS Japan Spring special — a tribute to some of the most inspiring aspects of Japanese culture, one year on from the tragic, 9.0 magnitude earthquake and tsunami. The disaster left 15, 853 dead, 3,282 missing and 90,000 with no home to return to — AERIS talks to awardwinning CNN correspondent, Anna Coren, about her time in Sendai after the quake, and what the World can learn from the Japanese people.

We also speak to award-winning Japanese Architect, Shigeru Ban, who explains why he thinks ‘permanence’ is overrated — and what led him to build emergency shelters from recycled paper.

In Travel, we transport you away to enchanting Kyoto — land of ancient bamboo forests, artisans, and drama. From the heartland of geishas, to the isle of goblins, we introduce Shikoku, synonymous with transformational hot springs, alpine mountains and mysterious folklore…

In Arts, we celebrate the playful and popular works of Takashi Murakami, whose iconic, multi-coloured interpretation of the LV logo reinvigorated Louis Vuitton.

In addition Mariko Jesse, a professional illustrator whose clients include Tiffany & Co., Conde Nast, the BBC, Vanity Fair and TIME, shares her journey… Both artists prove that commercial success and artistic passion can, with dedication, go hand in hand.

In Dining, we share Michelin-starred Japanese recipes that are easy to recreate at home, while in all things Tech, we interview Kevin Yu, Tesla’s Managing Director for Asia Pacific, on why China’s own automobile future is all-electric.

Finally in Fashion, we sit down with Alessandro Cremonesi, Jil Sander Group CEO, who discusses why Japan remains central for luxury, and the group’s exciting plans for China.

感谢您阅读 AERIS 的春季刊日本特辑，在日本 9.0 级大 地震与海啸一周年之际向日本文化致敬。那次灾难造 成了 15,853 人死亡， 3,282 人失踪， 90,000 人无家可 归。AERIS采访了CNN的获奖记者Anna Coren，她分享 了地震后在仙台的经历，以及关于日本值得学习之处的 看法。 我们同样采访了日本著名的建筑师坂茂，他向我们阐释 了他认为建筑的永久性被过分强调的原因，并告诉了我 们是什么促使他用再生纸建造避难所。 在旅游版块，我们会带您游览充满魅力的京都，这片有 着古老的竹林、艺术家和戏剧的土地。我们还将向您介 绍有着艺妓和小精灵的四国岛，那里还有温泉、高山和 神秘的传说。 在艺术版块，我们一起来欣赏村上隆的杰作，他对LV商 标多彩、抽象的诠释让路易威登重新焕发活力。除此之 外，专业插画家Mariko Jesse向我们介绍了她一路走来的 历程，她的客户包括Tiffany & Co., Conde Nast, BBC, Vanity Fair和TIME。这两位艺术家都想人们证明了艺术 成就和商业成功是可以兼得的。 在美食版块，我们为您推荐一些可以在家制作的日本菜 谱，均为米其林星级认证的。而在科技版块，我们采访 了特斯拉亚太区的行政总裁Kevin Yu，他向我们讲述了中 国私家车的未来市场将是电动车主导的原因。 最后再时尚版块，我们和Jil Sander 的CEO Alessandro Cremonesci 探讨了日本保持奢侈品中心国家地位的原 因，以及他们在中国令人激动的计划。 这是我代替我的好朋友、AERIS的创始人Amanda，作为 主编的第一期杂志。我会努力实现我们共同的目标—— 传达对于创新的深度看法、鼓励读者深入思考这个世 界，并且帮助他们发现并追求自己的梦想。

As my first issue as editor-in-chief, taking over from my best friend and AERIS founder, Amanda, I endeavor to fulfil our shared vision of delivering insight-driven content that celebrates creativity, encourages readers to think about the world beyond their own, and empowers them to realise and pursue their own dreams.

GRACE

AERIS Talks to CNN Anchor,

A

nna Coren

One year on from reporting on Japan’s devastating earthquake and tsunami, CNN’s award-winning anchor and correspondent Anna Coren reflects upon the conditions at the time, the Government’s response and the inspiring dignity of the Japanese people. 在采访日本破坏性的地震和海啸一年之后，CNN的获奖主播兼 记者Anna Coren与我们分享了当时的感想，包括对于政府的应 对和日本人民的尊严。

What was going through your mind, when you saw that first tidal wave?

I was on set shortly after the tsunami occurred and was anchoring when we first received aerial footage of the tidal wave. No one had ever captured that angle before — in the 2004 Indonesian Tsunami, all the vision was from the beach or hotel rooms. Japan’s national TV network NHK had sent their choppers into the air straight after the quake struck. You could see people on land, standing on overpasses staring out to sea… people in their cars, furiously trying to reverse and speed off in the opposite direction, as this wave was approaching. The footage cut out just before the wave hit them — but we knew all those people had been swept away.

Were you afraid — did the nuclear fears of hair loss and ‘radioactive’ food concern you?

No one was even thinking about the nuclear element yet — it was just how many bodies, how many survivors... The nuclear concerns were not on the radar for the first 5 days. We made our headquarters in Sendai and travelled up the coast — until we got a call from CNN’s head office in Atlanta announcing we had to evacuate immediately and return to Tokyo. We were given the option of returning home, but after much discussion with my family, friends and colleagues and weighing up the risks, I decided to stay.

当你第一次看到海浪的时候，你有什么感想？ 在海啸发生后不久我就准备待命，当我们收到航拍 的海浪景象时，我正在播报新闻。从来没有人从这 个角度来拍摄，在2004年的印度洋海啸时，所有的 镜头都是从海滩或是宾馆的房间拍摄的。日本的国 家电视台NHK在地震发生后就派出了直升机。你 可以看到人们在陆地、海上的桥凝视着海，在汽车 里焦急地尝试转向以避开海浪。这些片段都拍摄于 海浪袭击前，但是我们都知道这些人都被海浪冲走 了。 你当时害怕吗？当听说核泄漏会导致脱发或是遭受 辐射的食物是，你有没有担心？ 当时没有人去想核物质，只关心有多少人遇难了， 多少人幸存了。至少在前5天，没有人去考虑核物 质。我们的本部设在仙台，然后在海岸边进行报 导，直到我们收到CNN亚特兰大总部的通知，我 们必须立刻撤离，返回东京。我们可以选择回家， 但是在和家人、朋友和同时商量之后，权衡了利 弊，我决定留下来。 当时的条件包括临时房屋的状况怎么样？ 仙台当时被湮灭了，军队已经尽其所能，但是一开 始是搜寻幸存者，后来就变成搜寻尸体了。尤其 是一些老人，没能及时逃出来。但是建造临时 房 屋的速度是惊人的。房子非常干净，有食物和医 生，且十分温暖，因为三月的日本还是很冷的。

What were the conditions and temporary housing like?

在你看来，对于日本人民来说最困难的部分是什 么?

Sendai had been annihilated. The Army seemed to really be doing all they could, but what had begun as a search for survivors soon became a search for bodies. A lot of elderly especially couldn’t get out in time. The temporary housing however, was truly amazing. They were just so clean — with food, water, doctors and warmth (despite Japan being freezing in March).

我认为是情况的不确定性。没有人知道这里会不会 成为第二个切诺贝利。人们担心空气、食物和水被 污染了。最重要的是，不像可以选择离开的外国 人，日本人民不能离开，只能选择面对这些不确定 性。

In your view, what was the hardest part for the Japanese people?

媒体都在竭尽所能提供他们所拥有的信息，但是所 有人都强烈认为东京电力公司和日本政府没有披露 所有的信息。没有人知道究竟发生了什么，这对于 处在灾难中的人来说，是很可怕的。清晰的信息沟 通是很关键的，这点是日本的领导人所缺乏的。

I would say probably the uncertainty. No-one knew if this would be another Chernobyl. There was fear of contamination from the air to the water and food.

I think it’s important to remember that most of the foreigners living in Japan were able to get out if they wanted to, but for the Japanese people this was their home and they had no choice but to face this uncertainty.

日本政府和当地媒体是否提供足够的信息？

灾难之后你是如何在心理上进行调整的？

Were the Japanese Government and local media informative enough?

我们遭受的困难和日本人民所承受的创伤是无法相 提并论的。作为一个记者的好处就是总是可以和一 个团队的人出行，所以我们总是无话不谈，这点是 十分重要的。我们所需要关心的是那些心灵受到创 伤的日本人。我们可以搭乘飞机离开，但是他们还 在那里，独自从灾难的创伤中恢复过来。

The media was doing its best with what information they could get a hold of, but everyone strongly felt TEPCO and the Japanese Government were not

国际新闻总是喜欢报导即时的信息，你是否认为应 该更多关注长期威胁的报导？因为在新闻之后做出 回应就太晚了。

revealing all the information they had. No one truly knew what was going on, which is terrifying for anyone in a disaster. Clear communication is vital, and it was lacking from Japan’s leaders.

How did you yourself cope psychologically afterwards?

Our hardship was nothing compared to the trauma the Japanese people endured. The good thing about being a correspondent at a network is you travel with a crew, so we always talk about everything. It’s important to talk about it with people who were there with you, who share that experience, and not shut down.

That said, it’s the Japanese people whose psychological well-being we should really be concerned with here.

These people opened up their lives and greatest fears to us; we are able to get on a plane and fly away, but they are still there, recovering from this horrific disaster.

International news tends to cover disasters that are immediate and visible. Do you think that longerterm threats should receive more coverage, rather than reacting to news when it’s too late?

I think the primary job of a news organisation is to cover breaking news, and I think CNN does this better than

anyone else. That said there is certainly a need to balance our duty to cover breaking news, along with more ongoing issues. The CNN Freedom Project is a great example of how a network can bring light to an important issue, even when it’s not making headlines.

Who were the heroes that you will remember from Japan?

I know this sounds incredibly broad, but I would have to say the Japanese people as a whole. I was just blown away by their spirit. They operated with such calm, dignity and respect — putting to shame what we saw months later in the anarchy of the London riots. Even as they lost everything, no one looted… I saw cars queued up for fuel for over 12 hours, silent and still.

No-one yelled, no-one started beeping… Their dignity and resilience were inspiring beyond words. I think right now in these difficult economic times, the world can learn so much from how the Japanese people responded in a time of adversity. They restored my faith in humanity.

我认为媒体的主要责任就是报导即时新闻，而且我认 为CNN在这一方面比其它媒体做得更好。我们需要在 新闻报导和后续跟进上取得一个平衡。CNN的Freedom Project是一个很好的例子，我们可以不以新闻头条的方 式让人们了解重要的事件。 在日本有哪些英雄让你印象深刻？ 我知道这样说过于宽泛，但是我的答案是所有日本人 民。我被他们的精神深深打动了。他们处理事情的方 式非常冷静、有尊严且尊重他人，这与几个月后在伦 敦发生的骚乱形成了鲜明对比。就算他们已经一无所 有，也没有人会去乘火打劫。我看到汽车安静地排了 12个小时队，只为加油。没有人大喊大叫，也没有人 鸣喇叭。他们的尊严和忍耐难以用语言形容。我认为 在如今经济困难的时期，这个世界可以从日本人民身 上学到很多。他们让我对人性又充满了信念。

Anna Coren is an award-winning anchor and correspondent for CNN International. Every weekday she hosts the morning news program ‘World Report’, broadcast from the network’s Asia-Pacific regional headquarters in Hong Kong.

Anna Coren是CNN International的获奖主播、 记者。每个工作日她都会在CNN位于香港的亚太 地区总部主持晨间的新闻节目“World Report” For more stories, visit , 欲知更多信息,请访问, www.cnn.com To donate, visit: http://donate-japan.com Interview with AERIS 采访者: Grace Brown

Images courtesy of CNN International

Takashi Murakami

“Low” Art for the High Life Takashi Murakami is a Japanese pop artist. Inspired by cartoons, advertising, Japanese animation (anime), and Japanese comics (manga), Murakami’s imaginative sculptures and paintings feature candy-coloured images and exaggerated joy — from decorated smiling flowers, to blinking ‘jellyfish’ eyes, to his own world-famous ‘Mr. DOB’, a curious, mouse-like creature, with large round ears and eyes.

He has been criticised for producing art that is appealing to the eye, but lacking in substance. However, he also makes ordinary consumers think twice about a mere advertisement, cartoon or logo in defying traditional classifications between what critics regard as “high” art — as accepted by most museums and galleries — and “low” art within everyday objects, such as cartoons. Arguably, with more ‘art’ in advertising, products may be rated by consumers on their inventiveness, not merely their name.

Murakami also challenges the stereotype of an isolated artist toiling away in a studio. He employs a large team to help produce his original designs. They are sold to galleries and collectors from New York to London; to luxury brands seeking a more fun, quirky image such as Louis Vuitton; and in merchandise, from mugs to key-chains. His balance between ‘exclusivity’ and ‘accessibility’ has earned Murakami both respect among the global art elite and huge commercial success with mainstream consumers.

As Murakami put it in 2001: “Within the art scheme, one’s work must have a critical component to be popular.

The general public, however, is attracted to very silly paintings. I don’t see why contemporary works have to appeal to one audience or another.”

村上隆 给高尚生活的「低俗」艺术 村上隆是一位日本籍波普艺术家。从卡通、广告 以及日本动漫中获得灵感，村上隆富想象力的 雕塑及画作以糖果色彩的图案及夸张的欢愉为特 色：从微笑的小花装饰，到正在眨眼的水母眼 睛，以及他的世界中著名的’Mr. DOB’ – 一 只充满好奇心、有着圆圆的大耳朵及大眼睛的鼠 样生物。 他的作品曾被批评为养眼但欠缺要义。不过，他 仍然让消费者三思一个广告、卡通或商标，以蔑 视评论家对「高尚」的艺术如被大部分博物馆及 画廊接受的作品 及「低俗」的、随处可见的艺 术品如卡通的传统分类。若广告中有更多「艺 术」元素，顾客便可能为着商品中的创造性给予 评价，而不光是因为它们的名气。 村上隆亦挑战了「孤独的艺术家在工作室苦干」 这一传统模式。相反地，他聘请了一个庞大团队 去帮助他出品原创设计。它们被卖到画廊以及纽 约和伦敦等地的收藏家；寻找带有趣味及古怪的 品牌形象的奢侈品牌如路易·威登；及商品如马 克杯和钥匙扣。他在「独有性」和「可及性」之 间取得的平衡为他赢得国际间艺术精英的尊敬以 及在主流消费者中得到的巨大商业成功。 就像村上隆在2001年所说的：「在艺术的结构 中，受欢迎的作品中必定有一个关键的元素。但 是一般的大众都会被愚蠢的画作吸引。我不认为 现代艺术只需要吸引个别的观众。」

By Grace Brown Images courtesy of Fabrik Gallery

Kyoto’s Cherry

京 的樱 都 花

Blossom Charm Exquisite, evocative and breathtakingly beautiful: nestled on the outskirts of Kyoto, Saga Arashiyama offers the richest of Japan’s ancient heritage and culture.

Kyoto was the capital of Japan during the Edo Period (1603–1868), until the country leapt into its industrial revolution after the Meiji Restoration in 1868, when industry and commerce commanded the shift to Tokyo.

Left with a wealth of heritage and arts — from early manga sketchers, to ornate paper makers, to ethereal Geisha and Noh actors — Kyoto had to become the ‘capital of culture and education’ for its population to endure.

So precious was its artistic heritage that defense secretary Henry Stimson removed it from America’s list of target cities to be bombed, having had fond memories from his honeymoon there (though tragically, Hiroshima took its place).

岚山 位于京都郊外的嵯峨嵐山有着令人惊叹的精致美景，且拥有丰富的传 统古迹以及文化。 在江户时代（1603-1868）京都是日本的首都。直到1868年的明治维 新使日本投入了工业化进程，工商业中心才转移到了东京。 京都有着丰富的古迹和艺术品，从早期的漫画，到华丽的制纸工，再 到优雅的艺妓，京都早已是文化与教育之都。 正因为京都巨大的艺术价值，当时的美国国防部长Henry Stimson将其 从原子弹轰炸的列表中除去，只因他在京都有着美好的蜜月经历。尽 管非常悲剧的是，广岛遭受了轰炸。

Introducing:

The Hoshinoya

旅途中

The Journey

After watching awe-struck as our train seats rotated 180 degrees to all face forward, we departed from Osaka’s Kansai Airport on the Haruka Express — a 70-minute train journey that would transport us to the quiet, former capital of Kyoto (pronounced ‘Kyou-to’), preserved by emperors, scholars and artisans, thousands of years ago in time.

The first thing we noticed was the exceptional service. It was clear that the staff were honoured to be serving, not simply doing a job — an attitude yet to be seen in much of Europe.

After a train change at Kyoto station, we took the subway to Saga Arashiyama and a taxi to the riverside Hoshinoya boat waiting room, a cosy escape from the chill with Japanese biscuits, coffee and colourful books on Japanese theatre.

The wooden Hoshinoya riverboat was small and graceful.

The staff greeted us warmly and immediately gave us blankets and hot water bottles. 当我们惊讶地发现我们的火车座椅旋转一百八十度然后面向前 方，我们便踏上了从大阪关西机场到旧都京都的旅程，千年之 前，那里居住着帝王、学者和艺术家。 在那里，我们首先注意到的就是出众的服务。很明显，工作人 员不仅仅是在完成任务，他们非常享受他们的工作，这种态度 在欧洲是不多见的。岚山 在京都车站转车后，我们乘地铁到了嵯峨嵐山，再搭的士到了 虹夕诺雅河边的休息室。我们得以暂时逃离寒冷，吃了几块日 本饼干，喝了咖啡，并且翻阅了关于日本剧院的书籍。木质的 虹夕诺雅小船小巧精致。工作人员热情地接待了我们，并且给 我们送上了毛毯和热水。

The Hoshinoya itself is stunning — natural elements, a respect for space and simple, clean lines appeared to have informed the design. With an abundance of stone, wood and tatami mats, it felt elegant yet cosy, and completely in sync with the mountains and river around it. Glowing lamps, bamboo and quintessential ‘stone gardens’ lined our route, intended to bring peace of mind and inspiration to passers-by.

Upon arrival, we realised that our ‘mountain room’ was in fact a small duplex with three bathrooms, two floors, floor-to-ceiling windows looking out onto the river and what would — for two precious weeks in spring — be spectacular cherry blossom trees.

Our two-storey ryokan ‘room’ was rustic yet contemporary, reflecting the Hoshinoya’s commitment to providing an authentic Japanese experience in modern comfort. On the one hand, it had traditional sliding Japanese doors, tatami mats, a low, private dining table and it was customary to wear slippers, not shoes, inside. On the other hand, the bathroom was sleek and modern, with a bath deep enough to swim in and separate toilets, with so many buttons that my amazed companion felt they resembled spaceships. The crisp white beds were pleasantly soft, unlike traditional hard mattresses in most Ryokans.

强虹 烈夕 推诺 荐雅 度 假 村

虹夕诺雅度假村令人赞叹不已。设计中包含了丰富的自然元素、对简洁空间的注重和简 单明了的线条。由于这里有着丰富的木、石以及榻榻米，给人的感觉十分舒适，且与周 围的山水融为一体，有摇曳的灯光、竹林和精致的假山。这里给人带来心灵上的平静， 并给路过的人带来灵感。 到达度假村，我们才发现我们的房间是一个套间，有三个浴室，上下两层都有可以看到 河景的落地窗。若是在春季那难得的时长两周的开花时节来观光，还可以看到壮观的樱 花。 两层的房间充满乡土气息但又不失现代感，反映了虹夕诺雅让客人在体验传统日本文化 的同时享受现代舒适的承诺。一方面，这里有日本传统的移门、榻榻米、很矮的餐桌， 并且在房间里只能穿拖鞋。另一方面，浴室十分舒适，甚至可以在浴缸里有用，还有独 立的卫生间，繁多的按钮让我的旅伴眼花缭乱。不像其它日式旅店，这里洁白的床十分 柔软。

Images courtesy of the Hoshinoya Hotel

不 得 不 试 must-try: : Hoshinoya’s 虹 Kaiseki Dinner 夕 诺 and Hotpot 雅 Breakfast… 的

A

怀 石 料 理 和 火 锅 早 餐

Ravenous upon arrival, we headed straight down to enjoy a kaiseki dinner. Each party was served in their own miniature private dining room on a traditional, low table.

Our friendly and exceptionally helpful host, Ms. Honami, introduced every dish and the seasonal ingredients that define kaiseki. With the Hoshinoya’s chef Miako (trained in Japan specialising in authentic Japanese cuisine) and his co-chef (trained in France), the result is a modern interpretation of imperial Japanese delicacies.

The kaiseki began with six delicious seasonal amusebouches, which included simmered sardines with holly leaf, lightly cooked eel wrapped around a quail egg, salmon patty stuffed with a fresh tangy strawberry and simmered abalone with kidney beans. According to chef Miako, these starters are intended “to allow the guest to imagine the journey to come”. Next we sampled the Hoshinoya’s inventive “Meli-Melo” salad with fresh prawn and scallop with seasonal micro cress. My favourite was the next course: salty, charcoal-grilled a-Biwa gudgeon from the river with Kinome leaf vinaigrette. Equally sensational was the Rouleau beef with grilled Shimonita leek, potatoes and béchamel sauce, encased in flaky pastry. Completing the experience was a basket of hand-made soba noodles, followed by a truly spectacular dessert: chocolate mousse, fresh passionfruit sorbet and a candied ‘nest’ that was almost too beautiful to break — almost.

After a deep hot bath and undisturbed sleep, we woke up to our very own, in-room hotpot Japanese breakfast.

It typically consists of a sweet yoghurt drink, miso soup, a bowl of slightly sticky rice, fresh grilled fish, seaweed, salad and of course, a hotpot, complete with tofu, fresh vegetables and green tea. It’s hard to imagine a healthier breakfast or indeed, a more fun way to start the day than with a Japanese hotpot in the privacy of your own room, and Hoshinoya’s is authentic. Alternatively, there is a continental breakfast available, with eggs, sausage, vegetables, bacon, hot bread (with an in-room toaster) and fresh juice.

抵达目的地的时候我们已经饥肠辘辘，于是我们直奔餐厅 去享用怀石料理。每桌客人都有一个小的私密的空间，使 用的是传统的矮桌。负责我们这桌的保奈美小姐十分乐于 助人，向我们介绍了每一道菜和怀石料理每个季节使用的 食材。这里的大厨唯野擅长传统的日式料理，而另一位联 合大厨在法国接受的厨艺训练。两者融合的结果就是带来 了传统日本美食的现代诠释。 一开始，有六道美味的餐前菜，包括腌沙丁鱼配冬青叶、 鳗鱼玉子烧、三文鱼小馅饼配鲜草莓和腌鲍鱼配四季豆。 据大厨唯野说，这些前菜是为了让食客“对之后的菜产 生想象”。之后，我们品尝了虹夕诺雅的创新菜”MeliMelo“沙拉，有鲜虾、扇贝配上当季的水芹。我的最爱是 之后的一道菜：碳烧白杨鱼配油醋。牛肉卷配韭菜、土豆 和白酱也十分好吃。手打荞麦面为这顿饭画上了圆满的句 号，最后还有一件出众的甜点：巧克力慕斯配鲜果冰沙。 装在一个小容器内，精致得让人不忍下手。 在享受了热水澡和不受打扰的睡眠之后，我们起床享用早 餐的火锅。早餐包含了酸奶、味噌汤、米饭、新鲜的煎 鱼、海带、沙拉和火锅，内含豆腐、鲜蔬和绿茶。很难找 到比这个更健康、或是更有趣的早餐了，而且在虹夕诺雅 的早餐火锅是最正宗的。不过你也可以选择享用欧陆早 餐，有鸡蛋、香肠、蔬菜、培根、烤面包和鲜榨果汁。

Images courtesy of the Hoshinoya Hotel

Things to d o

玩 转 in D owntown 冈 崎 Okazaki 市 中 心

Visit Kyoto International Manga Museum — from the Hoshinoya, it’s a 20-minute riverside stroll to the subway station which takes you quickly into Central Kyoto Station, where you change lines and reach Karasuma Oike Nakagyo-ku.

It covers the history of manga from the 17th century to the present, and how it moved from being a ‘low art’ to influencing Japanese culture and consumerism. Open from 11am–6pm.

Also in the Okazaki district are two great art museums: the Crafts Museum (at 9-1 Seishoji-cho, Kyoto Okazaki), where you’ll find everything from Noh masks to delicate paper fans, and the Museum of Modern Art Kyoto (MOMAK). This was closed for renovation while we were there (re-opening in April), but features exciting contemporary exhibitions from Japanese film posters to Japanese surrealism (at 9 Okazaki Enshoji-cho Sakyo-ku).

After soaking up the culture, head just around the corner to the famous Kyoto Food Market and savour fresh ramen and gyoza. Recommended by Ms Honami, we tried “Gogyo” and were delighted to find crispy fried chicken, juicy pork gyoza dumplings and hot ramen with lightly cooked egg, radish and a spectacularly savoury ‘burnt soy sauce’ soup, at very reasonable prices.

参观京都国际漫画博物馆。从虹夕诺雅出发，只需沿河走 20分钟就可到达地铁站，再搭地铁到京都中心站，在这里 可以换乘到达目的地。博物馆涵盖了从17世纪到现在的漫 画史，讲述了漫画是如何从一种低端艺术发展成影响日本 文化和消费的艺术形式。营业时间是早上11点到晚上6点。 在冈崎还有两个伟大的艺术博物馆：工艺博物馆和京都现 代艺术博物馆。在工艺博物馆，你可以找到很多东西，包 括日本能剧的面具和精致的纸扇。而京都现代艺术博物馆 现正在闭门装修，将在4月重开，那里有令人激动的当代艺 术展览，包括日本电影的海报和日本超现实主义的作品。 在享受完文化之旅后，到街角的京都食品市场享受新鲜 的拉面和日式饺子吧！经保奈美小姐的推荐，我们尝试 了”Gogyo”这家餐厅，很惊奇的吃到了炸鸡、烧汁猪 肉饺和玉子拉面以及美味的味噌汤，价格也十分公道。

Things to d o around Saga Arashiyama Make like a local and jump on a bike — Kyoto is blessedly flat and Saga Arashiyama is especially beautiful to enjoy on two wheels at your own pace. Bikes can be rented at the Hoshinoya. Or, if you’re a lazier creature, you can always hire a rickshaw at one of the many vendors by the riverside.

Experience a traditional Monko Incense Ceremony, where you crate your own incense mountain from ash and tiny, delicate utensils. The Hoshinoya offers his opportunity to guests. As a hyperactive person, I thought this meditative activity would not really be for me. Yet, my millions of mental to-do lists evaporated as soon as I inhaled the soothing, woody aroma of the aloeswood. As Ms Honami explained, this experience is so overpowering, it is known as ‘listening’ to the incense, not merely smelling — a tradition samurai adopted to calm them before battle.

Sometimes, after seeing every temple in town, they all look the same. However one that absolutely cannot be missed is Tenryuji Temple, a UNESCO World Cultural Heritage Site. It’s also an easy 20-minute walk over the idyllic Togetsukyo bridge from the Hoshinoya. Founded by Ashikaga Takauji in 1339, Tenryuji has been burnt down and destroyed by fires and wars until 1864, so most of the buildings date to the nineteenth century Meiji era.

Different temple drawings are exhibited throughout the year and if like some of us you have a shorter attention span, take a walk in the beautifully kept garden, which stretched for miles.

Take the Philosopher’s Walk, which begins at the exit of Tenryuji. It is a spectacular, towering bamboo lined path and an easy place to get lost in time and thoughts. If you’re lucky, you might even see a few apprentice geisha, as we did.

On your way back, stop by the many Japanese sweets shops selling cinnamon mochi and delicious apple yuzu, which make for great gifts. As we later learnt, the mochi sold elsewhere is more sugary and artificial than Saga Arashiyama’s. Other downtown treats to look out for are the cherry blossom and green tea ‘Mr. Whippy’ ice creams, hot pork buns, edame bean and chicken skewers, happily washed down with a refreshing cherry blossom soda from a vending machine.

Sunbathe on the rocks outside the Hoshinoya and take a swim in the spectacular Hozu-Gawa River or “River of Springs,” said to be rich in minerals from the famous Yukawa River upstream. This is probably an activity best reserved for the warmer May to September period, though we did see a group of men practicing martial arts in the icy waters during February!

Arigatō and happy travels!

To reserve at the Hoshinoya, call: +81-50-3786-0066 Address: The Hoshinoya, Genrokuzancho 11-2, Arashiyama, Nishikyo-ku, Kyoto City 616-0007, http://www.hoshinoyakyoto.jp/en/

游在嵯 峨: 嵐 山 你可以像当地人一样骑自行车。京都地势平坦，嵯峨嵐山的 美景非常适合骑自行车游览。自行车在虹夕诺雅可以租到。 或者，如果你想偷懒，你也可以包一辆人力车。

走出天龍寺后，你会走上一段“哲人之路”。路两边林立着 竹子，在这里你很容易就沉醉在时间与思考中。如果你幸运 的话，有可能会像我们一样遇到一些艺妓。

体验一下传统的烧香仪式。你可以用香灰和精致的器皿制作 一座“小山”。虹夕诺雅为客人提供这项服务。作为一个很 好动的人，我认为这个需要静心的活动不适合我。但是当我 闻到沉香木的香味时，一切杂念都被抛到九霄云外了。就如 保奈美小姐所说的，这是一个非常不同寻常的经历。你不单 单是“闻”香味，更要用心倾听。这是日本武士在战斗前静 心所使用的方法。

在回去的路上，你可在日本糖果店稍作停留。里面的肉桂糯 米团和苹果柚子都是很好的手信。我们后来才知道，别处卖 的糯米团比这里的含糖量更高。其他的美食包括樱花绿茶冰 激凌、猪肉包、枝豆和鸡肉串，最后再喝上一杯自动售货机 中售卖的樱花苏打水。

在参观完所有的寺庙之后你会觉得它们全都大同小异。但是 有一个寺庙绝对不能错过，就是天龍寺(Tenryuji)。这是联合 国教科文组织保护的世界遗产。从虹夕诺雅出门，经过标志 性的渡月桥，走二十分钟就可到达。由足利尊氏在1339年创 建，天龍寺在1864年在战火中被摧毁，所以现在看到的建筑 都是十九世纪明治时期建造的。不同时期的寺庙的风景画在 寺庙中展出。你可以在美丽的花园里的漫延了几英里的小路 上走一走。

在虹夕诺雅外的岩石上晒日光浴，或是在保津川中游泳，据 说这里的河水富含矿物质。这比较适合五月到九月来此参观 的旅客，不过我们还是看到有一群男人在二月的冰水中练习 武术！

感谢观赏并祝旅途愉快。

Considered mere prostitutes before the 18th century — living dreams emerging from ‘the floating world’ of night — it was far from society’s imaginings that young women from the pleasure quarters of Kyoto and Tokyo would evolve into some of the most artistic, acclaimed icons in Japan.

Since the 7th century, young girls trained as entertainers in teahouses from as young as three years old, until mature enough to start working professionally in the sex trade.

They were otherwise known as ‘saburuko’ — courtesans.

During the Edo era (1600– 1868), Japan closed itself to the outside world and entered a cultural renaissance, during which saburuko flourished, along with other colourful subjects from ukiyo-e woodblock prints or ‘pictures of the floating world’, including s umo wrestlers. It was in this era that the first official pleasure quarters — Shimbara — were built, modelled upon those built during China’s Ming Dynasty.

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By the mid-1800s, centuries of civil war finally ceased and a period of peace and industrialisation arrived. Many noble families from the samurai class struggled to find a use for their services. As the merchants (‘chonin’) rose, the once prosperous, now desperate samurai chose to release their daughters into a life that would use their pedigree and remove their financial burden: charming and entertaining the new wave of businessmen. While not strictly sex servants, until World War II they were also subject to ‘mizu-age’ ritual auction, whereby their virginity was sold to the highest bidder. Their white made-up faces, intricately pinned hair and exquisite kimonos would serve as a clean mask for their shame and isolation.

eisha world

艺伎的世界

By Sarah Spencer

十八世纪前，还只有普通妓女时 – 逼真 的梦境在夜间的「浮华世界」中浮现 – 人们很难想象，京都和东京中的年轻欢场 女子会演变成为日本最富艺术性的、广受 赞扬的偶像。 从七世纪开始，年轻女孩就会被训练成为 茶馆内的表演者，最年幼的只有三岁，一 直到她们长大成熟，能够从事专业的性 交易。她们亦被称为’ saburuko’ – 交际 花。在江户时代 (1600-1868), 日本关闭 国门，并进入了一个文化复兴时代。当 时，交际花连同木板印刷、「浮世绘」和 相扑等多姿多彩的题材开始盛行。第一个 官方的欢场“嶋原” (Shimbara )就是在这 个时代参照中国明代的模式兴建起来的。

Meanwhile, different classes of courtesans — as well as standards expected from them — developed. The occupation of some saburuko evolved beyond sex servants into something distinctly artistic and glamourous. A handful escaped the darkest shadows of society and rose rose to become performers, singing and dancing to their own compositions, often played on the shamsen, a string instrument. Watching them soon became one of the most popular forms of entertainment in the country and elite group of women were elevated to honourable and respected artisans: ‘geisha.’ Soon, the geisha began stealing clients from more common courtesans. In the Yoshiwara district, authorities decided to start a registration system or ‘kenban,’ regulating them and compelling them to pay taxes. While still ornate, they were forced to wear fewer adornments than courtesans. However, the strict rules allowed the geisha to flourish as more sophisticated entertainers, while their simple elegance led them to become fashion icons too.

Over time, their refined manners and exquisite demeanor meant that it became increasingly prestigious for Japanese business leaders to bring their clients to them. A past of erotic entertainment became the future of a poised profession. However, that future is limited: while geisha still ply their trade, they are a dying breed, with few below veteran age. The ‘geisha’ captured on film are most often maiko (apprentice geisha) or tourists, made up for a few hours of escapism. Today’s real geisha are almost never seen. They are more often hired to entertain the upper echelons of society in private rather than the public.

Nevertheless, their grace and striking presentation are legendary: forever woven into history and an immortal influence upon Japanese art and culture.

直至十八世纪中叶，持续数个世纪的 内战终于平息，和平及工业发展的时 期到来。很多武士阶级的名门望族努力试图寻找出 路。因为商人 (‘chonin’) 阶级的崛起，家世大不如前的 武士选择让女儿出卖自己的血统以缓解财政负担：魅 惑并娱乐新兴起的商人阶级。虽然严格来说不至于伦 为性仆，但直至二战止她们都必须经历「初夜礼」这 一拍卖仪式，在那里她们的童贞会被卖给出价最高的 投标人。她们涂上了白色化妆品的脸、复杂盘起的头 发以及精致的和服是她们的羞耻及孤立的洁净伪装。 同时，不同级别的交际花 — 以及对她们期望标准开始 产生。交际花的职业逐渐超越性仆角色，演变至具有 清晰迷人的艺术感。很多交际花都逃出了社会阴影而 跃升为表演者，歌唱、舞蹈自己以三味弦演奏的作 品。她们的表演迅即成为了日本国内最受欢迎的一种 娱乐模式，而这群优秀的女性则变成了高尚及受尊重 的技工：艺伎。随后艺伎很快便可以从普通交际花手 中抢到客人。吉原地区的管理机构更决定设立一个登 记系统 “検番” (kenban) 以管理她们，强迫她们缴税。 依然华丽的艺伎被强迫穿上比交际花更少的装饰品。 不过，这些严厉的规矩让艺伎发展为更精良的表演 者，同时她们那简约的优雅也让她们成为时尚偶像。 随着时间的推进，她们精炼的风度和优雅的举止让带 上艺伎去谈生意的日本商业领袖愈显尊贵。往日的色 情娱乐如今成为一项泰然自若的职业。但是，这个行业 的未来是有限的：尽管她们还在不断地工作，艺伎仍在 慢慢消失。随着年龄增长如今只有为数不多的年轻艺伎 继续工作。电影中的「艺伎」通常都是 “舞妓” (maiko, 艺伎学徒)或只是以化妆逃避现实数小时的游客本身。 如今真正的艺伎几乎销声匿迹了。现在，她们更多的 是被邀请去私人地方而非公共场所，用以娱乐上流社 会。但是她们的优雅惊艳的表演是一个传奇，将被永远 编入历史，并对日本的艺术和文化产生不朽的影响。

From Geisha to Goblins:

S

hikoku Wilderness

漫 游 四 国 岛

从 艺 妓 到 小 精 灵

The smallest of Japan’s four main Islands, mysterious Shikoku is often deemed a backward and primitive place by Tokyo and Osaka’s urbanites. Indeed, when we first wandered out of the exit at Oboke station at night to see twisted goblin and monster masks leering down from windows and walls with not a soul in sight, it was easy to see how Shikoku gained a reputation for being slightly ‘strange’.

作为日本四个主要岛屿中最小的一个，神秘的四 国岛通常被东京和大阪的城里人认作是十分原始 落后的地方。确实如此，当我们初次在大歩危车 站外的街上漫步时，夜晚的街道上，古怪妖精和 魔鬼面具从墙内、窗上俯视街道，眼神里没有一 丝生机。大概这就是四国岛被认为有些“奇怪” 的原因。

Shikoku’s notoriety for magic and monsters was exaggerated by 19th century Irish writer Rafferty O’Hearne’s gruesome goblin novels set in rural regions of Japan, such as Shikoku. However, locals we spoke to believe that such ‘magical transformations’ are more part of Shikoku’s branding than it’s history.

四国岛的魔力与鬼神的恶名被19世纪爱尔兰作家 Rafferty O’Hearne阴森恐怖小说夸大了。这些 小说的场景设定就是诸如四国岛的日本农村。然 而，这样“魔幻般的转变”更多来自于四国岛对 自身品牌的塑造，而非历史的原因。

Until 1988, the island could only be accessed by ferry to Matsuyama and Takamatsu, which are said to be particularly spectacular in summer. Now however, it can also be reached by the snub-nosed ‘shinkansen’ bullet train from Osaka to Okayama, followed by the regular 2-hour train from Okayama to rustic, mist-cloaked Oboke.

截止 1988 年，四国岛还只能通过到松山市或高 松市的轮渡到达。据说在夏天，此地的景观非常 壮观。然而如今，去四国岛也可以先坐从大阪开 往冈山的新干线，再搭乘从冈山到大歩危的时长 两小时的火车到达。

Getting there: 到达四国岛

A word of warning: there are no taxis and no wifi at Oboke station.

The simplest route to the cosy comfort of your ryokan is to ask your hotel to send a car to collect you from the station and have the number ready to call. Ignorant of this, we were stranded in darkness by the mountainside, and were thankfully rescued by a friendly kayak instructor who was driving past. We were completely blown away by the willingness of this ordinary Japanese man to help us, showing his respect for social dignity towards strangers. He and his seven year-old daughter patiently drove us 40 minutes around treacherous, alpine terrain — on a road so narrow it was almost one-way — expecting nothing in return. With a calm smile, he simply said “it’s my job”, though we finally convinced him to take our fortunately unopened bottle of sake, which made his smile wider.

友情提示：车站没有的士也没有无线网络。到达 旅馆最简单的方法就是请旅馆派车来接你。由于 我们不知道这一点，我们在黑暗的山间小路游荡 了许久，直到幸运地被一个开车经过的皮划艇教 练营救。我们被这个日本人的热心所深深感动 了。他和他七岁的女儿耐心地在窄小的山间小路 上开了 40 分钟，且不求回报。当我们到达目的 地时，他只是淡淡一笑，说：“这是我应该做 的。”但是最后我们还是劝他收下了一瓶未开封 的清酒，这也让他更加喜笑颜开了。

where

to s tay:

住在: 和之宿祖谷温泉

H ot e l I ya On se n

My companion and I stayed at Nanayado Hotel Iya Onsen, which I truly believe is one of the best ryokans from which to experience all that the Iya River, mountains and rural Japanese culture have to offer. After our eventful journey there, we were overjoyed to discover that our ‘standard’ room was cosy, modern and spacious. It was furnished simply and traditionally with tatami mat floors, sleek, open plan design, sliding screens over floor-to-ceiling panoramic mountain view windows, soft beds, heating, two bathrooms and even our very own outdoor hot shower and deep stone hot bath, surrounded by stunning alpine scenery. Surprisingly, instead of occupying our time with the well-hidden television, we entertained ourselves with the impressive collection of in-room classical music, from Chopin to Tchaikovsky, which we were told is common throughout the country.

我和同行的人住在和之宿的祖谷温泉酒店。 我认为这是最好的日式旅店之一，因为在那里可 以感受到 Iya 河，山和日本农村的文化。在疲惫 的旅程以后，我们很惊喜地发现旅店的标准房十 分舒适、现代、宽敞。简单的装潢，配有榻榻 米，设计开阔，透过落地窗可以看到山的全景。 房间里的床非常柔软，并配有暖气、两个浴室， 还有四周景色优美的私家温泉。更让人惊喜的 是，我们没有把时间都花在看电视上，而是欣赏 房间内放置的古典音乐，从肖邦到柴可夫斯基的 音乐，应有尽有。我们发现这在日本是十分常见 的。

A M u s t- T ry: R e g i ona l Ka i se k i

One word: Kaiseki. Whatever you do, do not leave without booking a local Kaiseki meal at least one night at Iya Onsen, as it makes use of the local ingredients and fish on the island, giving a real taste of the surroundings. There are three sittings a night and the experience is all the more enjoyable and comfortable given that no-one dressed in anything but the pajamas provided by the room. Iya Onsen’s kitchen does Japanese comfort food like no other: everything is hot, fresh, delicious and approachable, from the vegetable tempura to the skewered robatayaki-grilled mackerel. The rich miso and claypot chicken cooks soothingly right on your table as you gaze out at the mountainous formations through the dark. Breakfast is no less pleasing — if you are going to try a Japanese breakfast, be sure to do it here. With fluffy, sticky rice, grilled salmon, an array of tasty pickled condiments and a bubbling vegetable and barley soup, this meal will set you up for lunch and dinner. The ‘English’ breakfast — sausages, bacon, broccoli, pumpkin, potato, herbs and eggs cooked in a claypot and served with hot breads — is equally delicious. 无论你想玩什么，一定不要忘记至少预留一晚并预定好怀石料理。这里所有的料理都取材自当地，鱼 肉都来自岛上，你可以品尝当地的原汁原味。那里一晚只服务三桌客人，这段经历只能用享受和舒适 来形容。当时，我就穿着房间内提供的睡衣去用餐了。这里的食物和其他日本餐厅提供的不太一样， 有蔬菜天妇罗、炉烧鲭鱼。你可以一边看着夜色中的山景，一边等待味噌鸡在桌边慢慢烹制。早餐同 样很美味，如果你想体验地道的日本早餐，那里就是最合适的地方。松软的米饭、煎三文鱼、酱菜和 冒着热气的蔬菜大麦汤，这样的一顿早餐会让你对午餐和晚餐有着更多期待。当然，那里的英式早餐 也同样美味，有香肠、培根、西兰花、南瓜、土豆，以及在坩埚中与草药一起烹制的鸡蛋，配上烤面 包，味道绝佳。

不怀 可石 不料 试理

i n g s to d o Thon Sh i kok u

The greatest draw of Iya Onsen is its beautifully designed outdoor hot baths or ‘onsen’ (one for men and one for women), complete with a heated cable car to take you down the steep mountain from the hotel reception to the changing room doors in five minutes. The journey down is an experience in itself, with panoramic views of the Iya Valley on both sides and a view of the eerie Okuiya Niju Kazura Bashi (double vine bridges). Iya Onsen is famous for sulphur and hydrogen minerals, which confer strong skin benefits, according to Mr Isamu-Inoue, the hotel manager.

Just outside the Iya Onsen’s outdoor baths lies a great riverside flat walk around Oboke — a rewarding way to stretch those newly rejuvenated muscles.

Back at the top, another great walk is the snaking alpine trail through the mountains (with views far below into the Iya River). Head left when you leave the Iya Onsen and you’ll soon reach a famous statue of a peeing boy, on the edge of the cliff, well worth a Kodak moment.

祖谷温泉最漂亮的地方就是露天的温泉。配有暖气的缆车可以在5分钟内带你跨 越陡峭的山坡，从旅店的前台直达更衣室。下山的旅程本身就是一种享受，可以看 到Iya山谷的全景，还可以远眺奥祖谷二重桥的奇景。祖谷温泉的温泉有着丰富的硫 和氢化矿物，据酒店的经理井上勇介绍说，这对皮肤非常有好处。 在露天温泉外就是大歩危的河边小路，在此漫步是很好地舒展身躯的方式。 而在山顶上，蛇形漫延的山路上也有很好的景致。从祖谷温泉酒店出门向左走，你 就会看到一个著名的撒尿小孩的雕塑，绝对值得照相留念。

玩转四国岛

Images courtesy of Hotel Iyaonsen

Other great things highly recommended to us include: Rafting or kayaking down the azure blue mineral waters of the Iya River from Oboke to Koboke (call + 81 0883-72-7620 to book).

更多推荐：在湛蓝的Iya河上划木筏或是皮筏艇， 可以从大歩危划到小歩危。（可致电+ 81 088372-7620预定）

The famed sex museum in Uwa-Jima.

在宇和島市有著名的性博物馆。

The old Takamatsu castle, rebuilt after the World War II bombing. We also heard that Ikawa X Park zorbing — a quirky sport born in New Zealand whereby you push yourself along fields in a giant supported ball — is also great fun (call +81-0883-78-3430 to book).

在第二次世界大战之后重建的古老的高松城堡。 我们也听说在井川 X 公园有太空球运动。这是一 项源自新西兰的运动，你会在一个大的充气球中 滚下山，非常有意思。（可致电 +81-0883-783430预定）

Mt. Tsurugi (second highest mountain in Western Japan at 1,955 metres) with spectacular alpine plants and scenery at the summit. The Ohtsurugi trail takes you there in 90 minutes, after getting off the lift halfway up.

A picnic at Biwa-no-Taki waterfall.

剑山（日本西部第二高山，海拔1955米），在山 顶欣赏高山植物和美景。先坐电梯到半山腰，再 做90分钟的Ohtsurugi索道到达山顶。 在琵琶滝旁野餐

A walk along the rice terrace in Shimokage, which has been painted and photographed countless times by international and local artists.

欣赏下影的稻田景色，无数的游客将此地当做自 己摄影或是绘画的主题。

To reserve at Hotel Iya Onsen, visit: 若要预定祖谷温泉酒店，可访问: http://www.japaneseguesthouses.com/db/shikoku/iyaonsen.htm Address 地址: Hotel Iya Onsen 367-2 Matsuo Ikeda-cho Miyoshi-gun Tokushima-ken

Osaka Downtown Cool in

While we ourselves did not get the chance to explore the city (venturing only as far as the ‘Shin Osaka’ station between Kyoto and Shikoku), by all accounts one thing is absolutely clear: Osaka is the capital of food. In fact, a good deal of Japanese cuisine originated from Osaka. Having asked trusted Japanese friends, here are the five Osakan dishes not to miss: 尽管我们没有机会真正去探索一下大阪这座城市（我们最远也只到了京都和四国之间的大阪站）。但是从我们多方 打探到的信息来看，有一点是毋庸置疑的，那就是大阪是一座美食之都。事实上，很多日本菜式都起源于大阪。在 询问了日本的朋友之后，我们为您总结了不容错过的大阪五大美食。

Kushikatsu: These are bite-sized chunks of vegetables and meat coated in bread crumbs, penetrated by a bamboo skewer and then deepfried. Dip it in salt, spices or tartar sauce at the Hozenji Yokocho food market.

串炸 ”Kushi-Katsu” ：切成小块的蔬菜和肉 类包裹在面包糠中，用一根竹签穿过，再放 在油里炸。用盐、辣椒或是在法善寺横丁购 买的塔塔酱里蘸着吃尤其美味。

Hakozushi: Osaka-style (edo-mae) sushi is called hakozushi (box sushi). It is created by pressing rice into a square wooden box with the likes of grilled eel, fish, shrimp, flower leaves and shiitake mushrooms, forming delicate, delicious multicoloured layers.

盒装寿司：大阪式的寿司被称作为盒装寿 司，是将米饭放在一个方形的木盒子里压制 而成，再配上烤鳗、鱼、虾、花叶以及香 菇，不但味美，且颜色鲜艳。

Shabu-Shabu: this celebrity-status delicacy is related to the hot pot. It involves thinly sliced, high quality beef slices being dipped into boiling broth and removed while the meat remains juicy and red — savour with sesame dipping sauce.

日式火锅：这种火锅享有盛名，尤其是其中 的涮肉。将切成薄片的高质量牛肉放在沸腾 的火锅内烫一下，在肉仍未熟透最多汁的时 候从锅里捞出，配上芝麻蘸酱，十分美味。

Okonomiyaki: these Japanese pancakes cooked on a hot plate with pork, diced cabbage and egg translate to “as you like it,” for their customisation potential. Serve with mayonnaise, katsuobushi (dried fish shavings) and aonori (finely grated dried seaweed). Again, we gather Hozenji Yokocho food market is where it is at…

大阪烧：这种日本的蛋饼是在铁板上配合猪 肉、切丝卷心菜和鸡蛋做成，以其可以自由 搭配的特点著称。你可以选择放多少猪肉、 生菜和鸡蛋，再配上蛋黄酱、碎鱼片和青海 苔。这些东西同样可以在法善寺横丁买到。

Last but not least, Takoyaki or ‘octopus dumplings’ — the most representative of Osakan fare. These affordable street treats are whipped up by heating flour and water with pieces of boiled octopus and chopped scallions in a pan within circular moulds and served piping hot almost anywhere on the city’s streets…

章鱼小丸子：这种便宜的小食是大阪最具代 表性的，在街头巷尾都能买到。原料是面 粉、水、章鱼片和葱。在圆形模具的铁盘中 制成，热乎乎的非常美味。

Osaka Attractions:

大阪的景点：

See the city from the 106 metre high HEP FIVE Ferris Wheel at Umeda or from 170 above ground at the Umeda Sky Building’s Floating Garden Observatory.

在梅田106米高的摩天轮或是170米高的空 中庭院上俯瞰大阪的全景。

Visit downtown Dotonbori (Minami) and its bustling shops and food markets, as well as Tombori River Walk, along the Dotonbori river.

Pick up some quality sake from the legendary Isaka Sake Brewery, which has won the gold prize at national brewery competitions countless times.

For a touch of heritage, visit Osaka castle and garden, then the Osaka Museum of History.

Take a hike (in fact, choose between five hikes) from the idyllic Satsukiyama Park, complete with its very own observation tower.

Meander down to Nanba Grand Kagetsu, a stand-up comedy hub, for some live Osakan entertainment.

Get your adrenaline fix (before adventuring onto the takoyaki) at Hirakata Park, a theme park surrounded by rolling hills.

参观在市区的道顿堀，逛逛商店和食品市 场。特别推荐道顿堀河畔的散步路。 到井坂酒藏购买清酒，这家酒藏在日本国内 获奖无数。 如果对古迹感兴趣，可以到大阪宫殿、花园 和大阪历史博物馆参观。 到标志性的五月山进行登山，将山顶的观景 塔作为游览重点。 到难波大剧院体验日本喜剧的现场表 演。 在吃章鱼小丸子之前，到枚方主题公园的过 山车上或是到环球影城刺激一下肾上腺素。

漫 游 大 阪

A 1

ERIS ESSENTiAL JAPAN Travel Tips! 日本旅行必备贴士

Cash up 带足现金

Most ATM machines in Japan do not accept foreign issued Visa or Mastercard, and the yen is generally very strong, so you will spend more than you think (about 50,000 Yen or 3,913.44 RMB minimum for four nights, train tickets, meals and attractions e.g. temple tickets, depending on where you stay and go). 日本大多数ATM机都不接受国外发行的Visa和Mastercard信用卡。而且，日元的面值较大，所以你有可 能会花费比你预料更多的钱。（住宿四晚，购买火 车票，用餐和参观如寺庙此类景点的门票，一共会 花费大约50,000yen或者3913.44人民币，取决于你住 在哪里和去哪里玩）。

2

3

Shoes off slippers on

Travel by day

白天出行

Japanese towns — including Kyoto, but not Osaka or Tokyo — almost completely shuts down at night, with the exception of a few restaurants. Arrive after 7pm and your chances of getting cabs from the subway to your ryokan are slim. 在日本小镇，例如在京都而不是大阪和东京，除了 仅剩的几间餐厅，其余几乎所有的餐厅都会在夜晚 关闭。如果下午七点左右才到达那里，找到送你从 地铁站到旅馆的出租车的几率都很小。

Don’t double dip

4

脱掉鞋子 换上拖鞋

不要共享酱料

Unlike China, Japanese do not share food. It is considered rude and unhygienic to share sauces or double dip. Even offering someone the last succulent piece of pork in the hot pot by picking it up and putting it on their plate with your chopsticks is a big faux pas, unlike in China.

ometimes, in public restaurants downtown for instance, this is not enforced due to high traffic.

But almost anywhere else, including private dining rooms and your own hotel room, shoes must stay off..

与中国不同的是，人本人不喜欢分享食物，与别人 共用酱汁或者二次蘸酱会被认为是失礼并且不卫生 的行为。即使，你使用自己的筷子将最后一块多汁 猪扒从热锅夹起送到他人的盘子里，也是一个很大 的失礼。是不能穿的。

有些时候，例如在市中心的公共餐厅，因为人流量 多，所以穿拖鞋不是必需的。但是更多时候在别的 场所，包括私人用餐房间和自己的酒店客房，鞋子 是不能穿的。

Accept busienss cards with both hands 双手递出名片

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Like much of China, this shows that you respect them and their company, be it a mochi shop or a ramen bar. For an important contact, be sure to compliment the good design too! 在中国，双手递出名片表达了你对他人和他们公司 的尊重，不管是在一个年糕店或是拉面酒吧。在重 要的社交场合，最好要赞美他人名片的精美设计！

1. Spray Art

2. iMapMyRun (Available for

3. CamCam Pro

If you are fond of graffiti, but don’t want to do it on the real wall (and anyway, there aren’t many real walls which allow you to display your graffiti talents), you should try Spray Art. Drawing on the technology of ‘augmented reality’, this app enables you to paint on the screen of your smartphone. Just lock the target location on the screen and then start to paint, and the app will automatically record and save the location and orientation of your painting.

When you visit the same location later and open the app, you will see your masterpiece again. Spray Art is a great app indeed, although it would be even better if it allowed paintings to be shared with friends.

If you have resolved to be more health-conscious this year by doing some running, you may want to bring along iMapMyRun to your exercises. Choose your running route and open the app, and then you can use the built-in GPS of your mobile phone to record details of your running session including duration, distance, speed, route travelled and even calories burnt. You can also share these details with friends on social networking platforms. Apart from the app for running, the software developer has also launched apps for other sports such as cycling, hiking and workout.

I believe most of you have installed in your smartphones a couple of camera apps with functions such as shooting modes and photo editing. So is CamCam Pro just another camera app as you may think?

Hardly so! I warmly recommend this app on account of features which set it apart from other apps.

It provides a very quick response time which minimises delay in capturing and saving images. Its other functions include not only multiple shooting and anti-shake shutter but also self-timer, voice shutter and, most remarkably, face shutter which automatically recognises and takes photos of human faces.

如果你的新年愿望之一是多做跑步、锻鍊身体 的话，你可以考虑带同专为跑步而设的i Ma p MyRun 程式作为辅助工具。你只须设定跑步路 线和开启程式，开始跑步後，程式便会利用电话 内置的全球定位技术记录你走过的路线，更会 录下其他数据，例如跑了多久多远、跑速甚至消 耗了多少卡路里。你也可以把这些资料上载到社 交网站与朋友分享。除了有适合跑步使用的程式 外，软件开发商还推出了为踏单车、远足和健身 等运动而设的程式，务求协助你实现健康计划。

相信拥有智能手提电话的朋友们大多都安装了各类 备有多种拍摄模式和修饰相片等功能的相机程式， 但笔者仍诚意推荐CamCamPro 相机程式，因为它 具备与众不同的功能。笔者欣赏它在操作时的反应 远比其他相机程式为快，把拍摄和储存影像的时间 减到最少。此外，CamCamPro 除设有连环快拍和 防手震功能之外，还提供自拍计时器、声控快门以 至独特的人脸自动侦测功能。这个程式还备有闹钟 功能，它会自行选择在合适的时间唤醒你，让你能 精神抖擞地迎接新的一天。

(Available for iPhone)

假如你喜欢塗鸦但又怕弄花墙壁(而可供塗鸦的公众 地方也甚少)的话，你可以利用Spray Art程式的“扩 增实境”(augmented reality)技术在手提电话屏幕上 绘画，以满足你的绘画慾望。你只须开启程式，把 镜头锁定在一个地点作为背景，然後开始在电话屏 幕上发挥你的绘画才华。程式会自动记录图画和背 景的所在位置及角度，下次当你再在同一地点开啓 程式时，便可看到自己的作品。Spray Art是集创意 和趣味於一身的程式，如果可以透过这个程式把作 品分享给其他朋友，便会锦上添花了！

iPhone, Android and Blackberry)

(Available for iPhone)

A

ll New 1 Apps

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With Ernest Chan, Oats and Barley 陈家乐编写, 安柏莱有限公司

www.oatsandbarley.com

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4. Sleep Checker

5. 3D Badminton

6. Zaker

Do you constantly feel tired in the morning, despite having gone to bed the night before at a decent hour? If you do, you can record and study your sleep pattern with the help of Sleep Checker. This app has none of the complexity of a medical device: simply open the app before sleep and place the phone at a corner of the bed, and the built-in movement sensor will monitor your sleeping activity and collect, record and present the corresponding data for you.

The app also features a smart alarm to help you wake up reinvigorated.

The “Linsanity” which is sweeping the sports world like a tornado may make you itchy for some exercise, but alas, you are still stuck with over-time work in the office and are going to miss the soccer or basketball game this evening. An app you may consider is 3D badminton. Your finger is transformed into a badminton racket with which you can practice your smashes and drop shots, and you can control the directions and power of your attacks and defences simply by gently flicking the screen. So, brush aside the tedious work for a few minutes, roll up your sleeves and enjoy some sweat-free sports fun!

Selected by Apple as Recommended App of the Year, Zaker is a news reading app which stands out above the rest: Zaker enhances the reading experience by smartly juxtaposing photos with text to create a design as appealing as that of a real magazine. The app also has a strong content, providing access to hundreds of newspapers, magazines and general news websites, and allows users to add other sources of news around the world.

(Available for iPhone)

假如你每晚按时进睡，但第二天醒来时还是觉得很 睏倦似的话，你可以试用Sleep Checker程式来了解 自己的睡眠状况。这个程式十分易用:睡前开启程式 并把手提电话放在床角，程式便会凭感应记录你睡 觉时的动静及将之转成数据。第二天醒来後，你便 可以查看自己在前一晚的睡眠状况。这个程式还备 有闹钟功能，它会自行选择在合适的时间唤醒你， 让你能精神抖擞地迎接新的一天。

(Available for iPhone and Android)

随著“林书豪热”席捲全球体育界，你可能也想做 点运动，但奈何人还在公司努力加班中。不妨考虑 下载一些简单的运动遊戏程式暂作替代吧。一个相 当不错的程式是 3D badminton，它把你的手指变 成小型羽毛球拍，只要轻触电话屏幕，便可控制打 球的方向和力度，十分易用。现在就捲起衣袖，与 电子羽毛球好手一较高下，顺便暂时忘却恼人的工 作、松弛神经吧！

(Available for iPhone and Android)

曾获Apple评为年度金榜推荐软件、并在中国大陆广 受欢迎的Zaker，是一个以中文为主的新闻类资讯阅 读程式。与其他同类阅读程式不同，Zaker在排版方 面花了不少心思，利用图文併排，令读者觉得自己 正在阅读实体杂誌，而优美悦目的画面佈局，大大 提高读者的阅读兴趣。当然读者还可以在程式中新 增全球的新闻资讯来源。对於时刻留意世界各地动 态的你，Zaker会是一个好帮手。

NOBu At Home

Bwith Miso

l ack Cod

By Chris Sim

Easy, delicious and healthy, this acclaimed dish of Nobuyuki Matsuhisa’s now-ubiquitous restaurant can easily be replicated at home. Black cod or cod work best, but in principle this should also work with other flaky fish, like salmon.

(Recipe adapted from Nobu: The Cookbook, 2011, Kodansha USA, 1st Edition) Cooking level: Easy | Time: 15 minutes preparation, 15 minutes cooking | Serves 4 people You will need: • Approximately 600-700g black cod or cod fillets (skinless, boneless). Make sure the fish you get is very, very fresh (from a market or fishmongers) as you will need to marinate the fish overnight or even two nights.

• Quarter cup mirin • Quarter cup sake • Two and a half tablespoons white miso paste (shiro miso).

It is essential to use white miso paste — the other types (e.g. red) are far too strong for this dish • Two and a half tablespoons white granulated sugar

味 噌 银 鳕 鱼

Cooking instructions: 1. Bring the mirin and sake to a gentle simmer in a small pot over a medium heat.

2. Whisk in the miso paste and sugar, stirring thoroughly. Let the mixture reduce until the marinade has the appearance of a slightly viscous emulsion.

3. Taste the marinade, adjusting via addition of mirin/sake/ white miso/sugar according to your personal taste.

4. Let the marinade cool to room temperature (important: otherwise a hot marinade will cook the fish in the fridge).

5. Gently massage the marinade all over the fish fillets and wrap each fillet tightly with plastic wrap and leave in the fridge to marinate overnight, or even two nights (this will allow the fish to become even flakier and will absorb more of the marinade).

6. Pre-heat an oven to 200ºC and a grill to medium heat.

7. Grill the fish lightly until its surface starts to caramelise, then transfer to the oven to cook for 8-10 minutes.

8. Check regularly to ensure that the fish does not overcook.

Once finished, the fish should be golden on the outside whilst the flesh should be cooked through yet still flaky, juicy and moist.

9. Serve hot with steamed Japanese rice. If you like more marinade, simply scale up the amounts stated above.

简单、美味、健康，松久信幸创办的这间无处不在的餐厅的 招牌菜现在可以轻易地在家制作出来了。选料最好是银鳕鱼 或是鳕鱼，但是原则上其它片状的鱼肉，如三文鱼，都是可 以用这种做法来烹煮的。 食谱来源：Nobu: The Cookbook, 2011, Kodansha USA, 1st Edition 难易程度：简单 时间：15分钟准备，15分钟烹饪 分量：可供四人食用 你需要准备： • 大约600至700克银鳕鱼（去皮、去骨），确保鱼的新鲜程 度，最好是到菜市场或是鱼贩那里购买，因为你需要将鱼肉 在酱汁中浸泡一整晚甚至是两晚。 • 四分之一杯醇米霖 • 四分之一杯清酒 • 两茶匙半白色味噌酱。一定要使用白色的，因为其它品种的 味道过于浓重，如红色味噌酱。 • 两茶匙半白砂糖 过程： 1、将醇米霖和米酒在小锅里用中火慢炖。 2、将味噌酱和白砂糖充分搅拌，直至酱汁呈浓稠胶状。 3、尝一尝混合好的酱汁，可根据个人口味添加醇米霖、清 酒、味噌酱或是白砂糖。 4、将酱汁冷却至室温（注意：热的酱汁会将鱼肉煮熟）。 5、将酱汁充分抹匀在鱼肉上，轻轻揉捏，将鱼片用保鲜膜包 紧，在冰箱中放置一整晚或是两晚。 6、将烤箱预热至200度，同时将烤架用中热预热。 7、在烤架上将鱼片加热至表面微焦，再将它放到烤箱中烤8 到10分钟。 8、随时检查以确保鱼肉不被烤焦了。完成之后，鱼肉表面应 该呈金黄色，而鱼肉仍旧保持鲜嫩多汁。 9、与日本米饭一起上桌，如果你想要吃到更多的酱汁，只要 将上述的量加大就可以了。

豉 油 吞 拿 鱼

Marinated MTuna irin and Soy

By Chris Sim

Minimum effort, stunning results — this simple, timeless method of preparing tuna will leave your guests beyond impressed. However, there is effort in selecting the freshest of fish: be sure the tuna is sashimi grade, as it will only be partly cooked, remaining raw in the middle to highlight the freshness of the fish itself.

(Recipe adapted from: http://www.japanesefoodreport.com/2009/09/tuna-marinated-in-soy-sauce-an.html) 花最小的精力便能取得惊人的结果，这个处理吞拿鱼的方法简单且不费时间，能让家里的客人们 赞不绝口。然而，一定要挑选最新鲜的鱼，要确保吞拿鱼是生鱼片级别的，因为在过程中我们仅 会稍稍煮一下这些鱼，中间部分仍是生的以突出鱼本身的新鲜程度。 食谱来源：

http://www.japanesefoodreport.com/2009/09/tuna-marinated-in-soy-sauce-an.html

Cooking level: Easy | Time: 15 minutes preparation, overnight refrigeration | Serves 3-4 people You will need: • Approximately 500g sashimi grade tuna • Quarter cup of mirin, • Two tablespoons of sake • Quarter cup of soy sauce (half light, half dark), • Ten shiso leaves Cooking instructions: 1. Mix the mirin, sake and soy together, stirring well.

2. Taste the marinade, adjusting via addition of mirin/sake/soy according to your personal taste.

3. Cut tuna into approximately 1 inch thick steaks.

4. Bring a saucepan full of water to the boil. Carefully place tuna in boiling water for precisely 12 seconds. This allows a cooked layer to form on the tuna, which will in turn act as a sponge, allowing the tuna to soak up all the goodness of the marinade (normally tuna does not easily soak up flavours). 12 seconds is important — leave it in for any longer and more and more of the tuna will start to cook — not the aim of this dish!

5. Remove tuna from boiling water and immediately cool in ice bath.

6. Once tuna has cooled, place in marinade and allow the tuna to absorb all the flavours overnight in the fridge. If possible, turn the tuna during the night to ensure both sides have absorbed sufficient marinade.

7. Remove tuna from marinade and slice into 0.5 cm thick pieces.

8. Pour marinade into a small bowl for use as dipping sauce.

9. Chiffonade the shiso leaves as a side for the tuna 10. If desired as a main dish, serve with steamed Japanese rice (Maguro-Don). And if you like more marinade on your fish, simply scale up the amounts stated above.

难易程度：简单 准备时间：15分钟（需提前一晚冷藏） 分量：可供三至四人食用 你需要准备： • 大约500克生鱼片等级的吞拿鱼 • 四分之一杯醇米霖 • 两茶匙清酒 • 四分之一杯豉油（一半生抽一半老抽） • 十片紫苏叶 过程： 1、混合醇米霖、清酒和豉油，充分搅拌。 2、尝一尝混合好的酱汁，可根据个人口味添加醇米霖、清酒 或豉油。 3、将吞拿鱼切成大约1英寸厚的鱼片。 4、将一锅清水煮沸，小心地把吞拿鱼片在热水中煮大约12 秒。这样吞拿鱼的表面就是煮熟的了，可以像海绵一样，吸 收酱汁的精华（生的吞拿鱼很难吸收酱汁的味道）。注意12 秒这个时间非常重要，如果煮的时间太长，吞拿鱼更多的部 分就会被煮熟，做出来的就不是这道菜了。 5、将吞拿鱼从沸水中去除，迅速放在冰中冷却。 6、待吞拿鱼冷却后，将它放置在酱汁中，再放到冰箱中冷 藏，使其充分吸收酱汁的味道。如果可能，可以在这段时间 中将吞拿鱼翻面以确保两面都吸收了足够的酱汁。 7、将吞拿鱼从酱汁中取出，切成0.5厘米厚的片。 8、将酱汁倒在小碗里作为蘸酱。 9、将紫苏叶切碎，洒在吞拿鱼旁。 10、如果想要将它作为一道主菜，可以将它配上一碗日本米 饭上桌。如果你想要吃到更多的酱汁，只要将上述的量加大 就可以了。

Bon Appetite! 祝用餐愉快!

W

agyu Beef with Asian Greens

As a budding amateur cook, I was slightly nervous when I received the assignment to prepare wagyu beef. However, I can now declare myself a convert — it really is something special. What sets wagyu apart is the marbling of fat throughout the meat, giving it an unrivalled juiciness and richness when cooked. Of course all this comes at a price — read on to see how to make the most of your special purchase. 作为一个初出茅庐的业余厨师，当接到这个教授神户牛肉烹制方法的任务 时，还是有点紧张。不过，我现在可以很自信地说 - 它确实是个特别的东 西。神户牛肉的脂肪纹路把肉分层，在烹调时锁住了水分与质感。当然这 一切是有代价的 －－这得要看你的预算多少。

Cooking level: Easy | Time: 40 minutes | Serves 4 people

烹调难度：简单 时间：40分钟

You will need: • Four 180g wagyu sirloin steaks • Salt and pepper • Chinese greens (e.g. Chinese broccoli, bok choy, choy sum) • One tablespoon of chopped ginger • One tablespoon of chopped garlic • One cup of oyster sauce • One cup of hoisin sauce • One teaspoon of five-spice powder • One tablespoon of lemon juice

你需要准备：

4人份

• 4块180克的神户沙朗牛排 • 盐和胡椒 • 中式蔬菜 （如西兰花，白菜，菜心） • 一汤匙姜末 • 一汤匙蒜蓉 • 一杯耗油 • 一杯海鲜酱 • 一茶匙五香粉 • 一汤匙柠檬汁

By Chong Shao

如何烹制神户牛排 1、首先把牛肉从冰箱里拿出解冻30分钟，不要将 还未解冻的牛排放入锅中，确保牛排均匀受热。 2、大胆放盐。海盐最佳，你可以用指尖控制用盐 量。 3、用低温适度火候。如果温度过高，肉中的脂肪 就会流失，口感就会变得涩硬。小贴士：将一些 大蒜放入油锅中，如见大蒜滋滋作响，便达到完 美油温。 4、将牛肉放入锅中时要格外小心，不要拉扯牛 肉。 5、要格外注意不要烹制太久。在中国，我们的食 物大都烹制得十成熟。然而，神户牛肉在半生与 半熟之间的口感是最棒的。最好的提示就是，当 看到牛肉外层熟了，便可以出锅。 6、烹制完成后，将牛排放置5－－10分钟，让酱 汁渗透裹覆全肉。如要加热，可以再将其放入锅 中快速加热。 烹制方法： 1、将炒酱混合大蒜，姜末，耗油和海鲜酱，加入 辣椒粉和柠檬汁，在平底锅煮沸，然后温火慢煨 直至酱料粘稠。 2、用盐和胡椒腌制每一块神户牛排，放入少许油 至锅中，小火。 3、 当牛排两面都煎熟了，便可出锅。 4、 翻炒青菜，加入酱汁。 5、 将牛排配上青菜与米饭。

How to cook wagyu steak: 1. It is important not to throw the steak cold onto the pan. To ensure the meat cooks evenly, leave it out of the fridge (covered of course) for 20-30 minutes first.

2. Be generous with the salt. Sea salt is best as you can easily manipulate the amount with your fingers.

3. Use a low, gentle heat. This is extremely important as high

heat melts the fat away and creates a tough steak. A tip is to chop up some garlic and throw it into the oiled pan. When they are sizzling softly, the temperature is perfect.

Handle the steak with care when placing and turning it on the pan — don’t stretch the meat!

Cooking instructions: 1. To create the stir fry sauce, combine the ginger, garlic, oyster and hoisin sauce, spice powder and lemon juice in a small saucepan and bring to the boil. Let it simmer until thickened, then set aside.

2. Season each wagyu steak with salt and pepper and place onto lightly oiled pan on low heat.

4. Bring a saucepan full of water to the boil. Carefully place tuna in boiling water for precisely 12 seconds. This allows a cooked layer to form on the tuna, which will in turn act as a sponge, allowing the tuna to soak up all the goodness of the marinade (normally tuna does not easily soak up flavours). 12 seconds is important — leave it in for any longer and more and more of the tuna will start to cook — not the aim of this dish!

3. Once the steak is cooked on both sides remove from the heat.

5. Be vigilant and don’t cook for too long. In my Chinese household, we always ate our meat well-done. However, wagyu beef is best enjoyed rare or medium-rare. Use your best judgement — when the outside is cooked, remove the steak from the heat.

Follow these instructions and impress your friends! As for myself, I was even able to win over my meat-loving South American housemate. Wagyu beef is a truly wonderful experience, both in the cooking and the eating.

6. After cooking, let the steaks rest for 5-10 minutes. This allows the juices to circulate through the meat. You can easily reheat them by quickly throwing them back on the pan.

根据以上的指导，做出完美的神户牛排去惊讶朋友们的味蕾 吧！我甚至用这道菜战胜了我的热爱肉食的南美室友！神户 牛排真的是一次奇妙体验，无论是烹调还是品尝。

4. Coarsely chop the Chinese greens and stir fry them, adding the sauce.

5. Serve the steaks and greens with rice.

many elements of japanese cuisine have their origins in china...

日本美食 中 的中国元素

With such close geographical proximity to China, Japanese food has a number of its roots in the Middle Kingdom. But it might be surprising how closely linked some of the dishes really are.

由于日本和中国在地理位置上十分接近，许 多日本食品都源自于中国。然而，许多美食 的联系之紧密仍旧让人惊叹。

Noodles are probably the most well known. Take ramen for example (wheat noodles in meat, fish or miso-based broth) — not only do these noodles look similar, but the origins of the word are closely linked to la mian (Chinese hand-pulled noodles).

Udon noodles bear a striking resemblance to the cu mian (thick noodles) found in Northern China and Shanghai. Legend has it that a Japanese monk by the name of Kukai — who travelled to China to study Buddhism — introduced it into Japan more than a thousand years ago.

其中最出名的当属面条。就以拉面（全麦面 配肉、鱼和味噌汤）为例，不仅与中国的面 条形似，就连名字的来源都与汉语拼音中的 拉面相似。乌冬面也与中国北方和上海的粗 面非常相像。传说一千多年前日本僧侣空海 到中国学习佛学，便将粗面传回了日本。

Gyoza also has roots in Northern China and are in fact a version of jiaozi (grilled dumplings), but with two key differences — gyoza has a more intense garlic-flavoured filling and use a lighter, thinner dough to encase it. Besides China’s culinary influence, the Portuguese introduced the concept of deep-frying — leading to the creation of tempura — and the British introduced curries.

This shows Japan has adopted a plethora of foreign flavours into their cuisine.

However, the influence of Japan on Chinese cuisine has been less noticeable. The only exception is in Taiwan, where the fifty-year occupation of the island by the Japanese has led to the widespread popularity of sushi and the adoption of their own versions of tempura and curries.

日式饺子也起源于中国北方，实际上就是中 国北方饺子的一种，但是有两点不同。日式 饺子的馅蒜味更浓，且用的面皮更薄。除了 被中国饮食影响，葡萄牙人将油炸的概念引 入了日本，也促使了天妇罗的出现。而英国 带来了咖喱，这些都说明日本的饮食吸收了 各国的精华。 然而日本对中国饮食的影响就没有那么大 了。唯一的例外是在台湾，由于日本侵入台 湾五十多年，日本的寿司在台湾十分流行， 同时台湾也衍生出了自己的天妇罗和咖喱。

T

racing the Histor y of Harajuku Hip 追溯原宿潮流史

By Sarah Spencer Spotted every Sunday in the Shibuya area of Tokyo, the eccentric and unconventional Harajuku fashionistas are a certain sight for anyone passing Harajuku station on the Yamanote line in Tokyo…

Amongst the endless line of Tokyo’s smart shops and boutiques, nothing but colourful madness emanates from the fashions of Harijuku’s youth, with outlandish, matching hairstyles which emulate their preferred inspiration — from gothic ‘lolitas’ to ‘kawai’ flowers.

After World War II, Harajuku began attracting models, designers and photographers. Yet it was after the Tokyo Olympics in 1964 that Harajuku style began to be recognised in the Harajuku-Zoku district of Tokyo.

在东京的涉谷地区，一群不寻常的古怪原宿时尚达人已 成为东京山手线原宿站每个星期天固定的一景…

With the concept of ‘fashion with no rules’ and the coming together of individuals who can wear what they want and express a personal statement, these Japanese have also set trends on the world’s runway.

在东京那一行无尽的智能商店及服饰店中，除了从原宿 年青人身上散发出缤纷而疯狂的时尚感之外便别无他 物。他们以独特且相配发型去模仿其喜欢的造型 – 从 古典的‘lolitas’至 ‘kawai’ 的花朵。

It’s quirkiness aside, “Harijuku remains internationally relevant at the mainstream fashion end too,” said Julia Brown, Creative Director at international branding firm, Orijen. “What you see in Harijuku today is a amplified version of what will be fashionable in Europe in five years time.”

第二次世界大战后，原宿此地便开始吸引模特儿、设计 师及摄影师。但直至1964年的东京奥运会后原宿风格才 开始被东京的「原宿风俗」地区所认同。 凭着「时尚无限制」以及每一个体都可以做出自己所渴 求、能表达自己的打扮的概念，这些日本人同时在世界 T台上引领潮流。 撇开它的诡异，「原宿在国际间的主流艺术尖端中仍 是非常重要的。」身任国际品牌公司Orijen创意总监的 Julia Brown说，「你今天在原宿中所看到的就是五年内欧 洲潮流的一个夸张版本。」

AERIS Talks to

Alessandro Cremonesi CEO, Jil Sander

How would you describe the Jil Sander brand?

I would say Jil Sander as a brand represents exceptional craftsmanship, attention to detail, pureness of design, cutting edge and modernity. Modernity is key. These times are completely different (from when the brand was conceived) and we must keep up.

How important is European aesthetic in your design?

It’s important in that you cannot abstract a brand from its heritage. There are 14 nationalities in the team, so that is already an international mix of influences. That said, while a brand’s values and heritage are important, I do not want to impose European values onto Asia, so we still adapt to the markets we are in, too.

Tell us about Prada Group’s acquisition of Jil Sander in 1999 — how did that impact upon the journey of this brand?

In my view, the acquisition and subsequent sale to the private equity firm was problematic for two reasons.

Firstly, Jil Sander was primarily a ready-to-wear brand and Prada Group sought to have the same accessories and shoe business growth in the relationship, which didn’t happen. Secondly, Prada also acquired Jil Sander as part of its financial strategy to list in the European market.

When that was put on hold, they sold Jil Sander to a 您如何描述Jil Sander这个品牌？ 我认为Jil Sander代表了无与伦比的工艺、对细节的极致专 注、纯粹的设计，同时走在时代前沿，具有现代感。现代感 是这个品牌的关键。如今的时代与这个品牌刚刚创立的时候 已经有了很大的不同，我们必须与时俱进。

欧洲美学在你们的设计中有多重要？ 很重要的一点是，一个品牌绝对不能脱离它的发源地。我们 的团队中有来自14个不同国家的人，所以有来自各国的影

The CEO of one of Europe’s leading fashion labels talks about the continent’s retail challenges, the greatest marketing tool in China today and why Japan remains relevant. 这位欧洲著名时尚品牌的CEO向我们讲述在 欧洲销售产品的挑战、在当今中国销售所运 用的最佳市场工具和日本与该品牌息息相关 的原因。

响。正如我刚才所言，虽然品牌不能脱离发源地，但是我们 也不会将欧洲的价值观强加在亚洲市场上，我们会根据市场 要求进行调整。

可以跟我们谈谈Prada集团在1999年收购Jil Sander这 个事件对此品牌带来的影响吗？ 在我看来，品牌被收购，之后又被卖给投资公司，这样的举 措有两点问题。首先，Jil Sander最初是制作成衣的，Prada 希望通过收购能够带动装饰品和鞋类的业务发展，但是并没 有收到预期效果。另外，Prada收购Jil Sander也是它在欧洲 市场财务策略中的一部分。在如此想法的影响下，Jil Sander 在5年后被卖给了投资公司。在我看来，这带来了许多不确 定性，尤其在于供应商的关系方面受到了影响，因为我们将 重点放在销售额最大化，为了保证质量，并未过多考量削减 成本。如今我们有了长期投资者，管理也趋于稳定了。

Images courtesy of Jil Sander

private equity buyer after 5 years. That in my view was a recipe for uncertainty, particularly with supplier relation ships as the focus was on maximising value for the sale — cutting costs with less consideration as to what happened to quality later. We now have a more stable arrangement, with long-term shareholders.

As an international label, what would you say has been your most challenging market?

Europe — the European debt crisis has brought out the capriciousness of the high-end retail market. What I mean is, when you commit to quality, it requires significantly higher prices, but that creates elasticity of demand in tougher times, so each week and each month is different there now. Asia can be challenging in terms of securing the right distribution. Then of course, Japan was depressed after the terrible Tsunami, but it has recovered. We have 16 points of sale in Japan and that did not change.

Will Japan remain as important to you as other parts of Asia grow?

Even as the rest of Asia grows, Japan will remain very important to us. We have found there is a great affinity between German and Japanese design and attention to detail. So in light of this, as well as our strong recognition there, we are not stepping out of Japan.

What other markets do you have your eye on?

From our experience we have found great demand in the emerging markets. In particular, we are likely to expand

further in Turkey, the Middle East and of course China, as well as in Brazil, which is still an untapped market for us. as well as in Brazil, which is still an untapped market for us.

What have you found to be the most important thing young Chinese consumers expect from a brand?

Right now, I would say the most important thing that young Chinese shoppers want from a brand is that it is associated with a strong reputation for heritage and of course, luxury. However, increasingly we are also seeing them become more interested in the products themselves and how they fit into their daily lives — so it is crucial to maintain a high-quality offering at the product level, not simply rely on the brand. As China’s youth grows more sophisticated over time, it seems less likely to buy into luxury brands for the sake of luxury alone — the product itself must have value to them.

In your view, what is the most powerful marketing tool in China today?

I think it is social relationships, as customers rely on the opinion of a source they really follow and depend on.

There are three kinds of social relationships that matter to a luxury brand in China. Firstly, to have the right circle of friends, local celebrities and loyal customers to influence and spread the word in new networks; secondly, to be socially engaging with consumers directly, brands need to be not just present (e.g. online), but be present in the right way i.e. not Western social media — look at QQ, Weibo, RenRen and Youku for example — and thirdly

作为一个国际性的标志性人物，您认为您所遇到过的 最具挑战性的市场是哪个？

您认为中国年轻消费者最看重品牌中的什么东西？

欧洲市场。欧洲债务危机已经造成了高端零售市场的变幻无

以及知名度的联系。但是我们也看到越来越多的年轻人对产

常。我的意思是，如果你要致力于提高质量，就势必会大

品本身的质量和与他们日常生活是否搭调有了更多关注。这

幅度提高价格，但是这就会在如今这困难时期造成需求的下

点对于品牌消费的持续性是十分重要的，因为单单依靠品牌

降，所以市场每周每月都会产生变化。日本在海啸之后一直

效应很难维持下去。中国的年轻人要求越来越高，他们不再

处于疲软的状态，但是它正在逐渐恢复。我们16%的销售额

会单纯地为了奢侈品而买奢侈品，产品本身必须对他们有价

都在日本，且这个数字没有什么改变。

值。

日本会在亚洲市场的发展中保持其重要地位吗？ 很重要的一点是，一个品牌绝对不能脱离它的发源地。我们

在您看来，现在在中国最有力的市场推广工具是什 么？

即便亚洲其他地方的市场不断增长，日本对我们来说依旧十

我认为是社会关系，因为人们的意见取决于他们周边的人。

分重要。我们发现德国和日本在设计和对细节的注重这两方

对于在中国的奢侈品牌来说有几种社会关系是十分重要的。

面十分相似，再考虑到我们在日本市场的认可度，我们是不

首先，品牌的知名度依靠朋友圈、当地名人和忠实客户的传

会离开日本市场的。

播。其次，为了能和顾客直接接触，品牌不仅要保持在线，

就当下来说，我认为中国年轻消费者最看重的是品牌与底蕴

还要注意使用正确的方式，例如，需要使用非西方的社交工

您有开拓其它市场的兴趣吗？

具——QQ、微博、人人和优酷。最后，要和杂志建立合作

据以往经验，我们在新兴市场发现了巨大的商机。我们尤其

关系以瞄准目标顾客。我们在上海有一个公关办公室负责此

想在土耳其、中东、中国和巴西扩展业务。这些都是我们未

事。香港不在大陆中心，只能作为推广的窗口，而不是核

曾开拓过的市场。

心。

with Alessandro Interview AERIS Grace Brown, at the Business of Cremonesi, Design Week (BODW) CEO, Jil Sander

endorsement in magazines with a relationship with the right consumers. We will have a PR office in Shanghai to ensure this. Hong Kong is too remote now. It may be the window, but it’s not within.

What is your outlook for the global economy next year?

Next year looks tough — even for China. I don’t think the recession and crisis in Europe will disappear in two minutes.

That will have an impact on consumer markets for Chinese exports. Asia will not suffer as much domestically as Europe, but on a manufacturing basis, China will be exposed to the crisis. That said, I think that the quality of life in the U.K. and U.S. is likely to fall by more than it will in China next year.

您对明年的国际经济有何展望？ 接下来的一年，即便是对于中国，也是艰难的一年。我认为

How do you view this global economic shift?

I think from the time the Roman Empire fell this kind of change has always been a part of life. Today, the balance of power has already shifted east. As history can suggest, it’s not the end of the world; it’s simply the end of one era and the beginning of another… and we must live in this new economic era, or else be left behind.

欧洲的萧条和经济危机不会一夜之间解决。这会对中国的出 口市场造成影响。当然，亚洲并不会像欧洲一样受到直接影 响，但是在生产层面上会收到冲击。总而言之，我认为英国 和美国的生活质量将会遭受比中国更大的影响。

您怎么看待国际经济势力的变化？ 我认为从罗马帝国开始，这样的变化就一直伴随着我们。现 在，经济力量已经移向了亚洲国家。以史为鉴，这样的变化

Speaking of shifts, is the future of retail in China online?

No. I think that we are not as humanity-distant as everyone thinks. We will always have friends, the desire to go out, have fun… shopping is part of going out to enjoy yourself. Ecommerce will maintain its role when something does not need to be tried on; or when shopping in-store is otherwise unenjoyable or inconvenient. But online will not be the only shopping experience in China. Successful brands will ensure their customers have both a positive in-store and online experience. The important thing today is giving the customer the possibility to choose, so that they come back — online or in person.

仍会继续，如今只是一个时代的终结和另一个时代的开始。 我们必须适应新的潮流，否则就会赶不上时代的脚步。

中国零售业的未来会转到网上吗？ 不会。我认为人与人之间并没有疏远到这种程度。我们永远 都会有朋友，会一起出去玩，而购物是其中一种享乐方式。 电子商务仍会是人们想要买一些不需要试穿的东西，或是不 太方便买的时候的选择，但是电子商务不会成为中国唯一的 购物方式。成功的品牌会确保顾客在实体店和线上商店都有 良好的体验。最重要的是要给顾客选择权，这样他们才会再 次光顾，无论是在网上，还是在线下。

An internationally renowned illustrator who between London, Tokyo and Hong Kong has provided the artwork for clients from Tiffany & Co., to the BBC, to Conde Nast and the interior of Hong Kong’s Cheung Sha Wan MTR station. She is also a lecturer at Central Saint Martins in London.

Mariko Jesse 是一位国际知名的插画家。她游走于伦敦、东京以及香港，曾 为Tiffany & Co. 和BBC 等提供插画，甚至在香港长沙湾地铁站内也展示过 她的作品。她同时是伦敦中央圣马汀艺术设计学院的讲师。

AERIS Talks to

Marik Jesse

Your name — Mariko — means a travelling child, is that right? Tell us about your background and how it has shaped your unique style of print-making.

Mariko, in Japanese kanji, literally means 10,000 miles child.

Perhaps my parents knew I’d always be caught between different cultures, and likely to travel quite a bit. I’m half Japanese, half English, and grew up in HK. It made me interested in the way cultures mix. I use Western printmaking techniques with Asian influences, and my work somehow seems to belong to both places.

你的名字“Mariko”的意思是「旅游的小孩」，对吗? 请告诉我们你更详细的背景以及这背景如何塑造你在 版画上的独特风格。 “Mariko”的日本汉字在字面上是“一万里的小孩”的 意思。这大概因为我的父母觉得我会被不同的文化所 吸引，而且钟爱旅行。我有一半日本血统，一半英国 血统，却在香港长大。这让我对文化融合更感兴趣。 我在西方版画技术里融入了亚洲文化元素，所以某种 程度上来说，我的作品是东西结合的。

You have not only provided artworks for magazines such as TIME and Vanity Fair, but also the packaging of brands like Tiffany & Co. Do you see the next generation of illustrators doing more work for publishers, or luxury brands?

I think that variety is the key to a happy illustrator’s life. It boosts your profile to work for well-known brands, but sometimes the smaller jobs can be just as satisfying. I’ll work for anyone with an interesting project. All illustrators choose for themselves who they’d like to work for

你不仅仅为杂志：如《时代杂志》和《名利

How important is art in advertising today?

Art will always be important in advertising. They’re part of each other really. At St Martins both are taught together in ‘Communication Design’.

是否可以谈谈如今艺术在广告中的重要性？

In what ways was 18th century Japan a trend-setter for Europe today, in terms of design and printmaking?

In 18th century Japan, the middle classes were just starting to afford entertainment, art and culture, and the awareness of design bloomed. Japanese woodblock prints (ukiyo-e) became popular and readily available. As Japan opened up to the West, ukiyo-e prints spread to Europe, where they had a direct impact on impressionism and modernism. The work of artists inspired by ukiyo-e, such as Monet, Toulouse-Lautrec and Van Gogh, continue to inspire the artists of today.

I don’t think 18th century Japanese printmakers thought they were setting a trend, they were simply doing what opportunity enabled them to do at the time. Ukiyo-e’s forced perspective, flat areas of colour, and simple clean lines still influence design today.

在设计及版画方面，十八世纪的日本如何成为

场》等提供作品，而且也为Tiffany and Co. 等 品牌的包装提供插画。你认为新一代的插画家 会与出版商或奢侈品牌有更多的合作吗？ 我认为这种多样性是插画事业中快乐的关键。 为知名品牌工作会提升你的形象，但有时候较 小型的工作却能带来同样的满足。我愿意和任 何拥有有趣项目的人合作，因为所有的插画家 都会选择他们感兴趣的伙伴。

艺术在广告上一直非常重要，它们是彼此的一 部分。在中央圣马汀，这两者都属于「传播设 计」的研究领域。

了现今欧洲的潮流引导者？ 十八世纪的日本，中产阶级开始了在娱乐、艺 术和文化上的消费，于是设计的意识逐渐兴盛 起来。日本的雕板印刷(ukiyo-e)变得盛行。因 为日本对西方开放，ukiyo-e 印刷便传入欧洲， 直接影响了印象主义和现代主义。艺术家如莫 奈、劳特雷克和梵高等人的作品都在ukiyo-e中 获取灵感，并继续激发着当代的艺术家。 我不认为十八世纪的日本雕板印刷者意识到他 们在引领潮流，他们只是顺应了时代所给予的 机遇。Ukiyo-e的强制透视法、平坦的颜色区域 以及简单、干净的线条仍然影响着今天的设 计。

Where does Japan’s art and design scene stand now?

Japan is highly regarded in both art and design fields. Perhaps Japanese design is better appreciated outside of Japan.

The Japanese are well-educated in the arts, and very aware of design, and I think they take it for granted that everything should be well designed. Why wouldn’t it be? Japan is the only place I’ve ever been where the average person in the street knows what an illustrator does.

现在日本的艺术及设计舞台在哪儿？ 日本的艺术及设计被给予了很高的评价。可能 日本的设计在日本以外能受到更多的赏识。日 本人在艺术方面得到了很好的教育，而且很注 重设计，我认为他们觉得所有东西都理所当然 地得到设计，为什么不呢？而且日本是唯一我 去过的，连路人都了解插画家工作的地方。 艺术的重要性已被反映在中国的品牌打造中了

Is the importance of design currently being reflected in Chinese branding?

I think that Chinese branding is improving all the time, though I feel that China is more interested in producing, than creating. I’m not sure if design for its own sake is really valued very highly. I hope China can be brave and new on its own account much more in future, when it comes to creation and design.

吗？ 我认为中国的品牌建设不断地在进步，虽然我 觉得中国对「制造」的兴趣比「创造」大。我 不确定他们有否非常重视艺术本身，但我希望 未来的中国可以在创作和设计方面变得更勇 敢，更创新。 你相信中国会变得和日本一样具有创意吗？主 要的挑战是什么？

Do you believe that China can become as creative as Japan and what are the main challenges?

China can definitely become a creative country again. They

中国绝对可以再度成为一个具有创意的国家 ， 之前他们独创了很多东西，如纸、印刷术、瓷 器、茶叶和火 药。我感觉那里的设计师开始作

originally invented so many things, such as paper, the printing press, porcelain, tea, fireworks. I feel that designers there are starting to think more laterally and appreciate that good design is important. China can’t succeed in design unless it starts to innovate again, rather than imitate, so it will be an educational and cultural shift. Perhaps that’s the main challenge.

Is there a contemporary Chinese artist who you see as leading in this respect?

I admire Ai Wei Wei very much, in creating artwork that is beautiful and full of subtle meanings. He looks to the past, yet creates something entirely new.

For young readers who are hesitating to take a creative career path, would you mind sharing what the most rewarding thing about your work is?

I truly love what I do. I feel I’m creating things that are unique and special, and that my work makes people happy. I can combine my two great loves, drawing and travelling, and create my own style of living.

What did it take to reach where you are today?

Hard work! You need talent, but mostly you need the determination to succeed. I took all the opportunities I was offered. I’m confident, and I always believed I could be successful. I’m still working at it.

更多地从侧面思考，并体会到设计的重要性。除非中国重新 开始创新而非继续模仿，否则便不能在设计方面得到成功， 这将会是一个教育和文化上的转变。可能这就是最主要的挑 战。 在这方面你认为有领先的现代中国艺术家吗？ 我非常仰慕艾未未，因他创造出美丽而富有微妙意义的艺术 品。他回首过去，却创造出全新的作品。 对于一些想要发展创意事业但带有犹疑的年轻读者，你可以 分享一下你工作中最大的回报是什么吗？ 我发自内心喜欢我的工作。我觉得我在创造一些独有而特别 的东西，而且我的工作为人们带来快乐。我可以结合我两种 最大的兴趣 ： 画画和旅游，来创造属于我自己的生活方式。 你是怎样达到今天的成就的？ 努力！你要有天份，但你最需要的是成功的决心。我抓住任 Images courtesy of Mariko Jesse

何得到的机会，我有自信，而且我一直相信我会成功。我从 未放弃心中信念。

Mariko Jesse www.marikojesse.com

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lush singer/dancer, Natsuko (“Nacho”) talks to AERIS about overcoming the tortuous internal struggle of touring thousands of miles away, as last year’s earth-shattering tsunami struck her family at home.

乐队Blush的歌手兼舞者Natsuko(“Nacho”)接受了 AERIS 的访问。她向我们讲述了自去年家园被惊天动 地的海啸冲毁后，她被迫离家千里，克服内心种种挣 扎的艰苦历程。

妈妈拥有一间舞蹈室。疯狂热爱舞蹈的她会跳各种舞。她对 于舞蹈非常严格，对待演艺事业也十分认真。她说‘我知道 你十分出色，所以Nacho，你需要的仅仅是专注！’她从未 停止舞蹈。她是我心中的明星。 我生命中最困难的时期是在去年的海啸之后。我母亲生病 了，而姨母亦去世了。 当时身在纽约的我不知应否继续工作，不知家里究竟在发生 着什么。我不能陪伴在家人左右，这令我十分自责。我甚至 觉得自己是个不孝子孙 但是，即使天要塌下来，你仍然可以站起来。仅仅被动地接 受现实并不能让你过得更好。 我的梦想是每天都能在舞台上表演，让观众们感受到快乐。 我常告诉自己‘Nacho — 你做得很好！你很美丽！我们一起 努力吧！’ 我知道妈妈希望我为他们每一个人保持坚强，并在舞台上继 续闪亮。 请继续留意AERIS对Blush 的独家访问 — 第一支泛亚洲女子乐队 — 五月一日于www.aerismagazine.com 送上

Mum has a dance studio. She does every possible kind of dance, it’s crazy. But she is really strict about it. She takes the entertainment industry seriously. She’d say “I know you’re gonna be good, so just focus Nacho!” She never stops dancing. She is my star.

The hardest time in my life was after the tsunami last year. My Mum got sick and my auntie passed away.

I was in New York wondering if it was right for me to still be working, with what was going on at home? I couldn’t be there for my family. I was blaming myself. I felt like the worst person in the world.

But you can stand up, even when your world falls down. It won’t make it better if you go down with it.

To be on stage every day performing, making people happy, was my dream.

I’m always telling myself “Nacho — you’re good! You’re beautiful! Let’s do this!”

I knew my Mum would want me to stay strong for all of us and letthe show go on.

Stay tuned for AERIS exclusive interview with Blush — the first pan-Asia girl band — out May 1 at www.aerismagazine.com

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A C

Spring Swing

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A Les Insurgés, Le Wild Boxer Brief, €37 (RMB 307.22)* Available at: http://www.shopdescreateurs.com/

B Panda-mania, Swarovski Ralph Bag charm, HKD 1060 (RMB 862.15)* Available at: http://www.swarovski.com/Web_US/en/online_shop

C Navy Boy, Military cotton cardigan by Shanghai Tang, USD 215 (RMB 1357.54)*, Available at: www.shanghaitang.com

by Fashionary, founded by two Chinese design students, have launched sketch books to create your own fashion, €20 (RMB 166.27)* Available at: http://www.shopdescreateurs.com E Sixties Sunpocket in Matte Turquoise, Foldable sunglasses by Sunpocket Sport in shiny tortoise, €52 (RMB 432.29)*

D Mr. Sketchy,

Available at: http://www.shopdescreateurs.com

F Portofino Chronograph Edition Laureus, IWC Schaffhausen’s limited edition Laureus stainless steel timepiece in deep blue supports the Laureus Sport for Good Foundation, giving underprivileged children training to overcome trauma. HKD 50,000, Available at: IWC Flagship Boutique, Shop G12-G13, Ground Floor, 1881 Heritage, 2A Canton Road, Kowloon, Hong Kong.

G Call me Silicon, Book Stripe Morning Glory iPhone Case by Kate Spade HKD 380, Available at: http://www.katespade.com/designer-cell-phonelaptop-cases/laptop-phone-cases,default,sc.html

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I H J * Note: approximate RMB price only, subject to exchange rates.

H Sweet Seduction: Powder Pink Bod, Villa Bel Ami by Maison Close, Paris €52 (RMB 432.29)* Available at: http://www.shopdescreateurs.com/

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I Retro Memoirs Scarf, Limited edition, fresh silk Bouche en oiseau Scarf

by Esther Bonte, €50 (RMB 415.67)* Available at: http://www.shopdescreateurs.com/ J+ K+ L In the Spotlight: Swing, Sing and Shine!

Swarovski Rio Earrings pink HKD 1480 (RMB 1203.75)* Swarovski Rainbow Ring HKD 1640 (RMB 1334.35)* Swarovski Beautiful Black Shades HKD 4400 (RMB 3578.79)* Available at: http://www.swarovski.com/Web_US/en/online_shop M Phoenix Flutter, Pied de Phoenix printed silk fuji Qipao

by Shanghai Tang, USD 308 (RMB 3396.75)* Available at: www.shanghaitang.com N+ o Elegant editions: Tech-cessories, by Kate Spade ‘Eyes’ resin iPhone case – HKD 380 Japanese floral iPad sleeves HKD 380 Avaliable at: http://www.katespade.com/designer-cell-phone-laptop-cases/ laptop-phone-cases,default,sc.html

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a k i n g To k y o a n i h C o T t f i r D 到中国 特斯拉——从东京

Where is China sustainability-wise now, compared to 5 years ago?

Sustainability is important in China, as it is for Japan.

Countries around the world, some of whom bear very little resemblance to each other, are converging on sustainability as a core policy. However, China is still very much a developing market and therefore, growth is a priority too.

Balancing growth and sustainability will be a challenge for China these next few years — but I firmly believe that electric vehicles can help address that challenge.

Do you sell much in China?

Currently, we do not sell the Roadster in China. One thing that is clear is that we would not launch Roadster in China, as they’re close to sold-out. Roadsters sold-out in the US in 2011 and we have few left in Hong Kong out of the original 2,500 limited-edition cars worldwide. The Roadster aside, we would like to be in China as soon as possible, but there are many unknowns that prevent us from giving firm plans yet.

AERIS Grace Brown talks to Kevin Yu, Managing Director of Tesla Asia Pacific, on why mainstream Chinese consumers choosing to drive electric cars is only a matter of time.

AERIS的主编Grace Brown采访了特斯拉汽车亚太地区的常务 董事Kevin Yu，与他讨论了为什么中国主流消费者在短期内选 择电动车的原因。 与五年前相比，如今的中国在可持续发展方面处于什么位置？ 可持续性对于中国与对于日本同样重要，世界各国虽然各不相 同，但是他们都将可持续发展作为核心政策。然而，中国仍是 一个发展中的市场，因此经济增长也十分重要。对于未来几年 的中国来说，在经济增长和可持续性上取得平衡是十分重要 的，但是我坚信电动车可以帮助缓解这个问题。 贵公司在中国的销量怎么样？ 目前我们没有在中国销售 Roadster 。很清楚的一点是，我 们不会在中国发布Ro a d s t e r ，因为这款车已经接近售罄 了。Roadster2011年在美国售罄，而最初的2500辆限量版也 仅留了一些在香港。抛开Roadster不谈，我们非常希望能尽早 进入中国市场，但是有许多未定因素使得我们仍未制定详细的 计划。 如今特斯拉的产品在香港、日 本和澳大利亚有销售。您认为 哪里的增长空间最大？ 香港给我们带来了最大的惊 喜。尤其在日本才是三个地区 中人口最多、电动车的市场基 础最雄厚的情况下，香港却在 Ro a d s t e r 的人均保有量上遥 遥领先。五年前，在香港开电 动车就像拒绝使用鱼翅一样激 进。有意思的是，这种驾驶观念的趋势可以一夜之间改变，一 小部分人的意见引领了潮流。最先尝试电动车的人意识到，这 种环保的举措并不会影响现有的生活方式，事实上还改善了生 活方式。另外，香港几乎所有的停车场都有插头可供充电，政 府也为 Roadster 提供了一百万的补贴，这几乎给车价打了对 折。

“Sustainability is important to China”

Currently Tesla (Asia) sells in Hong Kong, Japan and Australia. Where have you seen the biggest growth?

Hong Kong has been the biggest surprise. In terms of Roadsters-per-capita, Hong Kong is way out on top, especially as Japan has by far the largest population of the three and also had a strong market for electric cars to begin with. In Hong Kong, the thought of driving an electric car was about as radical five years ago as saying no to sharks fin soup. What makes Hong Kong so interesting is that it is so trend-driven that opinions can change overnight. A relatively small minority of opinion makers can move the consensus. Once early adopters realised they could go green without making any major lifestyle change — and a ctually improve their lifestyle — that was the catalyst.

Besides, nearly every Hong Kong garage has an electric plug and the government offered a $1 million rebate per Roadster at the time of purchase — almost 50% off.

除此之外，Roadster不是那么偏离主流的 确实如此。Roadster有法拉利的外形、超过保时捷的性能、比 普锐斯更环保且和使用传统动力的宝马Z4价位相同。而且它即 刻就可买到。问题就是：“你为什么不买一辆呢？”到现在为 止，在上层社会，你可以做出自己的选择。你可以为了环保、 绿色的名声选择一辆普锐斯，也可以冒着落人口实的风险选择 一辆超级跑车。但是如果你选择了 Roadster ，就可以兼顾二 者，这点吸引了许多上层人士。总体来说，特斯拉的驾驶者不 需要通过买一辆传统的跑车来炫富，他们对自己在社会中的地 位非常满足。他们真正在意的是在享受劳动成果的同时，得到 别人的认可。

On top of that, the Roadster isn’t that left-field…

Certainly — it has the looks of a Ferrari, better performance than a Porsche, is greener than a Prius, and costs about the same as a run-of-the-mill BMW Z4. And it’s available

内地的年轻买家在你心目中的定位是怎么样的？ 我们的买家并无国界之分，无论我们到哪里，我们总能吸引有 着同样思想的人，就是那些既想做正确的事，又想开上一辆好 车的人。他们分布在中国内地、香港和欧洲，但他们有着相同

today, right now. The question is “why wouldn’t you buy one?” Up until now, at the top of society, you had a choice — you could stake your reputation on being clean and green and buy a Prius (and compromise on performance), or you could buy a super car and leave yourself vulnerable on social responsibility. With the Roadster, you can really have it both ways — and that appeals to a lot of people at the top. Generally speaking, Tesla drivers don’t need to show off their wealth by buying a traditional luxury car brand — they are comfortable with their position in society. What they care about is being seen as leaders, while still enjoying the fruits of their labor.

Where do young, Mainland buyers fit in your profile?

Our buyers look a lot like each other across national borders.

We attract buyers of the same frame of mind everywhere we go — people who want to do the right thing, but also just want to drive a really good car. They live in Mainland China, Hong Kong, the US or Europe, but this common thread unites them. Culture in Japan and Hong Kong is quite different, yet we attract buyers in both markets. When you ask about “young Mainland Chinese” right now, you’re really asking about “young Shanghainese, young Beijingers, young people in Guangdong.” There are so many sub-cultures within China, but among this educated, young, urban population, a Tesla in the garage is conveying the same sense of status that a Ferrari or Porsche did for their parents.

Will China’s environment support Tesla’s model?

Last year, we drove a Roadster from Beijing to Shanghai, over 1,000 kilometres, charging at standard electrical sockets all along the way. The locals along the way were very generous in letting us use their plugs. The infrastructure was already ubiquitous — we could drive a Tesla across the country. So infrastructure is not a barrier to electric vehicle adoption, particularly Tesla, with its long-range battery technology. And in terms of the regulatory environment, we benefit from subsidies, but we don’t depend on them. Our business model is not built to rely on subsidies. In China, we are confident that our value proposition will appeal to both consumers and businesses. As long as there’s a level playing field, our model will work in China.

How will you compete against hybrids?

Tesla’s mission is to create a reality where every car on the road is electric. Hybrids are a step in the right direction; anything that helps gets drivers off gas is helpful. It changes mindsets and encourages consumers to try new things. That said, hybrid technology is not an end solution, it’s only the halfway point. A hybrid is inherently inefficient. When you don’t use the electric motor, it is just dead weight, and when you aren’t using the gasoline engine, it’s just slowing the car down — there is always inefficiency. The only reason a hybrid has a gasoline motor is because people are afraid of running out of electricity. What Tesla is out to demonstrate — with 400 km of all-electric range — is that the hybrid’s days are numbered. All-electric is the future.

Tesla: ‘Image courtesy of Tesla Motors’

“Last year, we drove a (Tesla) Roadster from Beijing to Shanghai, over 1,000 kilometres, charging at standard electrical sockets all along the way…” 的特征。内地的年轻买家主要指的是来自上海、北京和广东的 年轻人，因为中国有着那么多不同的地区文化，但在这群受过 良好教育、年轻、在城市长大的年轻人来说，特斯拉之于他们 的价值就相当于法拉利和保时捷之于他们父母的价值。 中国的环境支持特斯拉的发展吗？ 去年，我们驾驶着特斯拉一路从北京到上海，一千多公里的路 程中我们都使用标准的电源插座。这样的基础设施在中国已经 无处不在了，因此这不会成为一个阻拦，特别对于有着耐久电 力的特斯拉来说。而在政策环境方面，我们会从补贴中获益， 但是我们不会完全依赖这些补贴。我们的商业模式不是建立在 补贴的基础上的。在中国，我们很有信心我们的价值观会吸引 很多消费者和企业，只要有着公平的环境，我们的模式在中国 一定行得通。 贵公司的产品如何与混合动力车竞争？ 特斯拉的愿望是让所有的车都是电动的。混合动力是一个正 确的方向，因为一切让消费者摆脱汽油的举措都是有用的。混 合动力车改变了人们的思维模式，并且鼓励消费者去尝试新 事物。但是混合动力车效率太低，当你不使用电力驱动时，车 就有了额外的负担；而当你不使用汽油驱动时，车的速度又会 大大下降。混合动力车仍然采取汽油驱动的唯一原因就是人们 担心电会用完。但是特斯拉带给人们的，是一次充电就可行驶 400公里的便捷。所以混合动力车时日无多，全电力驱动才是 未来的趋势。

漫画 的过去 与现在 1870 Manga Post card

Manga: Past and Present

by Grace Brown

Since the 18th century, manga has been a popular medium for publishers to communicate complex social analogies in a simple way. Today, manga has evolved beyond journalism and firmly into consumerism.

From as early as 1710, during the mid-Edo era, newspapers and journalists have used manga to convey social or political satirical commentary in a provocative, yet nuanced way that was both entertaining, yet easy for ordinary readers to grasp — particularly useful before the onset oh photographic journalism.

Since the 1960s, manga cartoons were published in experimental magazines and ‘tankōbon’ books, mostly printed in black and white to save money. Their low budget and strict time constraints meant that new, creative techniques needed to be adopted to make them unique.

In 1963, manga made a dramatic transition into a new form: film. Artist Tetsuwan Osamu created the first 30-minute ‘anime’ film, featuring the now immortal character, ‘Astro Boy.’

Following the tremendous success of tankōbons and manga films, manga emerged as a distinct youth culture by the 1980s and soon enough, manga artists were scouted to create ad campaigns for companies hungry to reach the youth.

The 21st century ‘manga industry’ is now an allencompassing media mix worth an estimated 3 trillion yen. From a subversive youth culture in the 1960s, to a firm part of mainstream Japan, manga now spans across television, film, music, video games, toys, fast moving consumer goods packaging and of course, where it all began, newspapers and comic books…

自十七世纪开始，漫画就成为了发行者简单地传达复杂社会现 象的方法。今天，漫画早已超越了传播用途，并演变成为商业 中稳固的一环。 早由江户时代中期的1710年开始，报章记者利用漫画以一 种激进但微妙的方式传达对社会或政治上的讽刺评论。这 方式不但富娱乐性，同时亦更容易为普通读者所理解 — 尤其在摄影传播之前。

自从六零年代开始，漫画卡通就由实验性杂志和单行本出 版，多以黑白印刷以节省花费。它们的低预算及严谨的时 间限制，意味着必须运用崭新及具创意的技巧才能让它独 一无二。 在1963年，漫画戏剧性地被转化为一种新的模式：电 影。艺术家Tetsuwan Osamu创造了第一部长达三十分 钟的「日本动画」电影，并加入了经典角色 - 「阿童 木」。

在单行本及动画电影的空前成功后，八零年代时漫 画成为了一种独特的青年文化。很快，渴望接触年 青人的公司便物色漫画家帮其策划广告宣传活动。 现今二十一世纪的「漫画工业」是一个约值三百 万兆日元、包含所有媒介的混合物。从一个六零 年代的颠覆性青年文化，到成为日本稳固的主流 文化，漫画如今横跨电视、电影、音乐、电动游 戏、玩具、快速消费品的包装 等多个领域– 当 然也在其发源地，报章及漫画书上大行其道。

Miku

—pushing the boundaries of sushi innovation

A re Canada’s Japanese are pushing the boundaries of sushi innovation?

加 拿 大 的 日 本 人 是 否 推 动 了 寿 司 的 创 新 ？

It can certainly be argued that Vancouver has some of the best sushi restaurants outside Japan. With an abundance of fresh, local fish and a booming Asian community, it is easy to understand why. On a short visit to this city, any discerning sushi lover would without doubt have a hard time choosing between the plethora of options, never mind considering the izakaya bars which have blossomed all over the city. So in such a competitive environment, how can a restaurant stand out from the crowd?

For Miku, the answer was to push the boundaries of innovation within Japanese cuisine and find a niche it could call its own. Firstly, they took the ‘Aburi’ technique of lightly flame searing sushi (which in itself is not wellknown outside of Japan) and combined this with local, modern ingredients to create dishes which appear to push the borderline of East-West fusion, yet simultaneously retain some traditional Japanese hallmarks. Secondly, and possibly more controversially, they did what some sushi traditionalists would consider to be unthinkable: their sushi is not accompanied by soy and wasabi. To most sushi lovers this would seem far beyond the norm, but in their place the clever use of non-Japanese ingredients such as mustard, avocado and even jalapeño peppers create some truly sensational flavour combinations.

This restaurant has created a masterpiece collection of innovative Aburi-based dishes, many of which are simply delicious. But for many, two dishes really catch the eye.

The first, and probably their most famous dish, is the ‘Aburi Salmon Oshi Sushi’. Cleverly crafted from fresh sockeye salmon, sushi rice, special creamy sauce, cracked black pepper and a slither of jalapeño pepper, this dish sounds rather strange, but the merry-go-round of flavours and textures will leave you craving for more. The most innovative ingredient here is without doubt the ingenious introduction of jalapeño, whose last-second kick of heat brings the whole dish together. The second, a somewhat simpler dish, goes by the name of ‘Aburi Saba Oshi Sushi’, a creation which brings the best out of the saba (mackerel) fish on which it is based. Rice, flamed seared saba and a special miso-based sauce combine to create a taste explosion of melt-in-your-mouth smokiness which you would be hard-pressed to find elsewhere.

Miku is undoubtedly unconventional, yet at the same time inspiringly innovative. For sushi addicts, a trip to Vancouver is not complete without a visit to this unique restaurant.

毫无疑问，温哥华有着日本之外最好的几个寿司 店。不难理解，因为那里有着品种丰富的新鲜鱼 类，且有许多的华裔。就算是短暂的停留，寿 司爱好者也会在选择哪间寿司店这件事上纠结很 久，因为居酒屋在这个城市里遍地都是。所以在 竞争如此激烈的环境中，一家餐厅如何脱颖而出 呢？ 对于Miku来说，他们的答案是：大胆创新，自成 一派。首先，他们采用了火炙寿司的方法，这在 日本之外是不多见的。并且与当地的食材结合， 促使了东西方饮食的融合，同时又保留了日本饮 食的传统。第二，可能更有争议的是，他们采取 了一些传统的寿司制作者想象不到的做法：他们 的寿司没有配着酱油和日本芥末，而是聪明地使 用了一些非日本的调料，如芥菜、牛油果和墨西 哥辣椒，创造出了独一无二的味道。 这间餐厅创造了许多火炙的菜色，十分美味。其 中有两道菜特别吸引人眼球。一道是他们最出名 的菜，叫做“火炙三文鱼寿司”。取材自新鲜的 烟熏三文鱼、米饭、特制的奶油酱、黑胡椒和墨 西哥辣椒，这道菜听起来可能有点奇怪，但是这 些味道的混合会让你倍感奇妙。其中最具创意的 配料就属墨西哥辣椒了，最后的辣味让味蕾十分 满足。另外一道菜比较简单，叫“火炙鲭鱼寿 司”，将鲭鱼的鲜美发挥得淋漓尽致。米饭、火 炙鲭鱼配特质酱汁，鲜美的味道在口中爆发，这 种入口即溶的感觉很难在其他地方尝到。

Miku 毫无疑问是非常不传统的，同时又为嗜食 寿司的人带来了许多创新。所以如果去温哥华旅 游，不去Miku这家独特的餐厅就太遗憾了。

Providing Post-Natal Care for Women affected by Great East Japan Earthquake:

JOICFP’s relief program one year on The Japanese Organisation for International Cooperation in Family Planning (JOICFP) is a non-governmental organisation founded in Japan in 1968 to support maternal and child health around the world, with projects mostly in Asia (including China), Africa and Latin America.

In the aftermath of the Great East Japan Earthquake in 2011, JOICFP also began helping expectant and nursing mothers mostly in Iwate, Miyagi and Fukushima prefectures, as well as affected areas in Ibaraki prefecture, by donating goods, providing subsidies, and offering health care and counseling.

The situation in the disaster areas has been constantly changing, with various needs emerging such as emergency supplies, support for midwives, family planning services, relief money, and materials for local medical check-ups. One year on, what new mothers affected by the disaster need is psychological support. Many have been separated from their families and are raising children alone in the evacuation areas. In Fukushima, where the risk of radio activity is high, pregnant women are under heavy stress. Some use bottled water with powdered milk, giving up breastfeeding. JOICFP plans to focus funds raised for the disaster victims on working with experts to provide post-natal care services.

AERIS Talks to higeru Ban

对 话S 建 筑 师 坂 茂

The innovative Japanese architect shares his insight on building temporary housing for earthquake victims after Kobe (1995) and the recent Japanese tsunami cheaply and simply using recycled paper, and why ‘sustainability’ has become superficial….

1995年神户地震和最近发生的海啸之后，日本用回收纸质建造了便 宜的临时屋，这位满怀创意的日本建筑师坂茂跟我们分享了他对此 事件的见解，以及“可持续性”这个概念变得越来越肤浅的原因。

您早年在美国的学业生涯对您的思想有什么影响？ 我在南加州建筑学院学习，所以我的灵感来自于在日本对于 加利福尼亚影响，而不来自于日本。那里实验性房屋的案例 分析和屋内屋外的开阔性都对我有着特别的影响。从加利福 尼亚到纽约，我一直寻求着将纸质建筑付诸实施的机会，因 为那些制作纸质模型而不建造房子的人并不能被称作是真正 的建筑师。 是什么让您对可回收材料产生兴趣的？ 在1986年我还是个学生的时候，没有人对可持续发现有兴 趣。我看到所有的建筑师都在追随当时所谓的潮流，但是我 并不想追随所谓时尚的东西。我想要开发出一种新的使用材 料的方式。一般来说，公司会为创造新材料大量投入。我的 兴趣在于创造一种利用已有材料，尤其是可循环利用的材料 的方式。 您还对哪些建筑结构和材料有兴趣？ 好的建筑不在于材料，而在于设计。你必须考虑到特定的 条件——气候、环境、建筑的功用、使用者的生活方式，这 些因素都应该体现在设计和材料的选用当中。现在，这些因 素都在不断地改变。 建筑的持久性被高估了么？ 我的确认为，有的时候建筑的持久性被高估了。在某些情况 下，临时建筑更为合适。比如说，由于没时间建造新房子， 灾难后的庇护所便被建造成临时性的。同样，有的建筑在使 用之后就变得多余，如奥运会的场馆。 是什么因素促使您寻求在地震破坏后解决难民危机的办法？ 我对建筑师行业非常失望。当初我进入这个行业是抱着为 人民服务的想法的，但是我看到建筑师只为富人和大公司工 作。建造灾后的临时住所是一种让我的生活找到平衡的方 式。对我来说，满足感不单单来自于设计费用。当我看到贫 困的人住在我建造的房子中时，我感到更加满足。

In what ways did your early studies in the US influence your thinking?

I studied at the Southern California Institute of Architecture, so I was inspired by Japanese influences in California, not Japan. I was particularly influenced by experimental housing case studies there and the openness between inside and outside. From California and later New York, I also sought to carry on the legacy of paper architects — those who make paper models, rather than the final buildings, yet are not regarded as ‘architects.’

How did you come to work with recycled materials?

As a student in 1986 — when no one was talking about sustainability — I saw architects following whatever was the style of the time. I did not want to follow what was fashionable. I wanted to develop a new way of using materials. Normally, companies invest huge sums in order to create things with new materials. I was interested in creating a new way of using what was already there, with re-useable materials.

What else interests you in terms of architectural structures and materials?

Good building is not about the materials, but rather about the design. You must consider the context — climate, surroundings, the function of the building, the lifestyle of those within it… all those things should inform the design and materials. Those contextual factors are in a constant state of change.

Is permanence overrated?

I do think permanence is sometimes overrated — sometimes it may be better to make temporary structures for a specific function. For example, temporary shelters in a crisis when there’s no time to build a new house, or temporary structures for the Olympics, if they are otherwise redundant thereafter…

What drives you to find solutions to earthquake destruction and refugee crises?

I was very disappointed in the profession of architecture — I joined thinking I was going to be working for people, but I saw that architects only work for rich people and corporations. Building temporary housing after disasters was a way of restoring balance in my life. Satisfaction to me is not derived from the design fee alone. Seeing poor families in a house I built gives me more satisfaction.

How did crisis management and recovery in Japan compare to elsewhere — Italy for example?

It’s hard to compare. Japan was very prepared in terms of building many very resistant buildings ahead of time. The problem was not the architecture, it was the tsunami. A 70 metre high tsunami… it is possible to design buildings to withstand earthquakes, but it is impossible to design a building to withstand a tsunami of that magnitude…

However, Japan’s post-crisis preparation was very poor.

There was no excuse. The temporary housing situation was terrible, yet Japan’s need for post-crisis facilities was as inevitable as an earthquake. The government must do more to prepare for the aftermath, not simply the event.

Out of the destruction, what can the world learn?

The strength of a building has nothing to do with strength of its material. Paper can be made stronger than wood or concrete. Yet, even concrete can be destroyed by earthquakes… It is no use trying to make buildings stronger with more expensive materials. It is about how we build, not what we build with. Investing in temporary facilities ahead of time is just as important as investing in more earthquake-resistant construction.

What is the Voluntary Architects Network (VAN) and how can more young people become involved?

There is no fixed organisation, but I have my own students to help me organise temporary housing projects. It’s easy to find a partner university wherever disasters are happening.

For example, after the terrible earthquake in Chengdu in 2008, I called up a local school for help. My voluntary network is always with local partners, schools and universities in disaster zones.

How can China build more sustainably?

You can see new trends like laminated bamboo in China already. However, some eco-trends are not all that they seem. Creating solar panels and double-glazed panels wastes so much energy, to create a product to save energy.

My advice would be that like any country going through tremendous construction, China should focus on not wasting what is already there.

What does sustainability mean to you?

A sustainable idea must be more than what people are talking about. I am not interested in ‘going green’ trends… I’m just interested in not wasting materials and building for community. That is my definition of sustainability.

日本应对危机的能力和其它地方相比怎么样？譬如跟意大 利？ 这点很难比较。日本在建造坚固房屋方面准备十分充分。问 题不在于建筑，而在于海啸。海啸的高度高达70米。建造 能抵御地震的建筑还有可能，但是建造能抵御海啸的建筑是 不可能的。

志愿建筑师网络是什么？如何让更多的年轻人参与进去？ 这不是一个固定的组织，我让我的学生们帮助我组织临时房 屋工程。无论灾难在哪里发生，找到一间合作的大学是很容 易的。比如说，在2008 年四川地震之后，我就向一所当地 学校寻求了帮助。我的志愿活动一直是和当地合作伙伴、学 校和大学一起开展的。

但是日本灾后的应对能力非常差，这点没有任何借口。临时 房屋的条件堪忧，然而日本对于灾后设施的强烈渴求与地震 到来一样不可避免。政府必须不光要为灾难做好准备，更要 为灾后工作做好准备。

可持续性对你来说意味着什么？ 一个可持续的想法必须超越一般人谈论的范围。我对那些 “走向绿色”的趋势没有任何兴趣，我只对不浪费材料、为 社区建造房屋感兴趣。这些才是我对可持续性的定义。

我们的世界能从灾难中学到什么？ 建筑的牢固程度和材料的牢固程度没有关系。就算是纸也可 以变得比木头或混凝土更强韧，而混凝土也可能在地震中被 摧毁。使用更贵的材料来让建筑更坚固是徒劳的，关键在于 建造的方式。提前对临时设施进行投资的重要性等同于对预 防地震的建筑的投资。

Shigeru Ban, Interview with AERIS Grace Brown, at the Business of Design Week (BODW) 建筑师坂茂在2011年香港设计商业周与AERIS主编 Grace Brown的对话。