Housing Japan vol.13, 2019 by Japanorama

Quality you can see Integrity you can feel Experience you can trust

Email: westcanada@housingjapan.com www.westcanadahomes.com

West Canada Homes has been building custom homes in northern Japan for more than two decades. Working closely with our clients, we take pride in being able to bring their dream homes to life. From mountainside getaways to ultramodern condominiums, we approach every project with passion, commitment, and the highest level of professionalism. Feel free to contact us anytime to discuss your project.

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VO L U M E 1 3 SPRING, 2019

Housing Japan Magazine ROBIN SAKAI

EDITORIAL & DESIGN PUBLISHER / Mitsuo Hashimoto

MANAGING EDITOR

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

MANAGING EDITOR / Robin Sakai ART DIRECTOR / Alfie Goodrich CONTRIBUTORS/ Natsuko Kojin, Yuki Haba, Masako Kawaguchi, Kyoko Fujitani ADVERTISING & SALES Custom Media

ADAM GERMAN ASSISTANT EDITOR

www.custom-media.com

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

PRODUCTION & PRINTING DESIGN & LAYOUT / Japanorama PRINTING / K.K. Liberal COVER Nonoka (Bellona Models). Photo by Alfie Goodrich COPYRIGHT All content of the Housing Japan magazine is copyright Housing Japan and / or its respective author. It is used here for editorial purposes. Although every effort has been made to ensure the accuracy of the content within this publication, some information, such as contact numbers and addresses, may change without notice. Housing Japan and Japanorama accepts no responsibility for misrepresented content or information within this publication.

ALFIE GOODRICH

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

HIGHLIGHTS FROM THIS ISSUE 18

INTERVIEW — the creative experience of flower artist, Nicolai Bergmann.

FILM — talking Hollywood, Pixar & film-making in Japan with Bruce Nachbar.

CASINOS — devil in the details as global players come to Japan.

SAILING — a view of Japan from its stunning coastal waters, with Jeremy Sanderson.

MOTORSPORT — driving to the top of Japanese motorpsort with João Paulo de Oliveira.

INSIDE THIS ISSUE

PROPERTY FURNISHED LETTING & RENTAL INCOME

INTERVIEW FLOWER ARTIST NICOLAI BERGMANN

SPORT THE RUGBY WORLD CUP & ITS IMPACT

LIFESTYLE CHOCOLATE & JEWELS IN OMOTESANDO

A MESSAGE FROM OUR PRESIDENT Inspired by major sporting events including this year’s Rugby World Cup and next year’s Olympic Games, Tokyo is undergoing another period of rebirth, with transformations taking place in key areas such as Shibuya, Roppongi and Takanawa. I continue to believe that this is the greatest city in the world, and the best place for you and your family to live. To highlight that, we at Housing Japan produce this magazine to showcase the finer points of living in Tokyo. In this, our 13th edition, we feature an exciting mix of properties, a special look at the coming casino resorts and speak with some of the prominent people who make Tokyo special. We are also honored to interview renowned flower artist Nicolai Bergmann, a man who built his business here in Tokyo and is now expanding around the world. We also speak to Jeremy Sanderson, successful Tokyo businessman about his sailing adventures throughout Japan. Another sportsman that we speak to is João Paulo de Oliveira, a professional racing driver taking part in Super GT - one of the highest levels of sports-car racing of anywhere in the world. There is plenty more besides. As always, if you would like assistance in renting or purchasing a property in Tokyo, we remain ready to serve you.

Mitsuo Hashimoto President, Housing Japan

PHOTO: Alfie Goodrich.

RAISE YOUR RENTAL INCOME - HOW COMPLIANT SHORT-TERM TENANTS CAN INCREASE YOUR EARNINGS. BY ADAM GERMAN

TOKYO PROPERTY REPORT Some say as prices in central Tokyo continue to rise, yields start to compress, making the city less appealing than years prior for investment property purchase. However, there are two factors at play in the yield equation; the property price but also the achievable rent. Indeed, long-term unfurnished rents are rising in Tokyo’s 23 wards with a 4% increase YoY in 2018 on average across all size ranges. “Throughout 2018, owners have been very tough on rent negotiations and realize that they can achieve incrementally higher rents per square meter,” says Kyoko Yokoyama, Director of Leasing and Property Management at Housing Japan. “We expect 2019 to continue that trend as unemployment continues to be at record lows, Tokyo’s population continues rising and wages rise, albeit slowly. When talking about investment property, looking for creative ways to raise rents while keeping vacancy rates down is paramount. This is where Housing Japan’s Monthly Furnished Apartment (MFA) property management program comes into the picture. “We began in January of 2017.” says Ken Takahashi, Director of MFA at Housing Japan. “We started with 1 condominium whose owner was getting out of the

minpaku market. We knew the shortstay tenant market was there. This unit and the others that followed proved the viability of concept over and over again.” Indeed, Takahashi’s managed portfolio has grown aggressively throughout 2017 and 2018 from that 1 initial unit to now managing 150 units in prime areas of the city, all the while maintaining an average of 85% and above occupancy rate. With MFA property management, the units are on offer completely furnished with utilities & internet included in the rent with the tenant staying a minimum of 1 month with flexible contracts. “Traditionally in Tokyo there was, and still is, a shortage of units that are geared for the 1 to 6 month business traveler or exchange student.” says Vice President of Business Development Adam German. “Tenants either had to go to a hotel, serviced apartment or try and negotiate with a property manager who requires the signing of a 2-year lease and buy or rent furniture. “These tenants don’t have Japan based income, so they are unable to pass an application screening for longer term apartments.” Often it was the strict screening that stopped short-term tenants from finding suitable accommodation.

“We knew the tenant market was there; we just needed flexible inventory to put on offer.” says German. “We were confident we could achieve higher rents for owners while at the same time alleviating a major pain point in the tenant market making it a win-win offering.” For owners it is a large win as Takahashi explains “By converting units from a normal 2 year lease to an MFA lease, we are able to increase net yields for owners in central Tokyo somewhere between 50 to 150bps (0.5% to 1.5%).” When MFA started, it was originally thought of as a rent bump method that would make it easier to sell investment property as well as appeal to existing owners. As prices continued to rise throughout 2017 & 2018, pitching to first time investors showcasing smaller studio and 1-bedroom units was the original modus operandi. However, in early 2018, as part of an effort to combat the rising popularity of minpaku, the Ministry of Land, Infrastructure and Transport (MLIT) issued templated language that body corporates in condo associations could use in their charters to outlaw daily stay tenants. The problem for MFA came in when the language wasn’t limited to just daily stays but also included weekly stays, monthly stays, home office use, senior care use and anything else that deviated from a normal, 2 year long-term lease. “This hurt our ability to sell condos for MFA.” admits German. “But, fortunately we had enough of a tenant track record by that time to appeal to existing owners and buyers of whole buildings that MFA

can work on that asset type too.

in their budget and in the location they needed to be in.

Takahashi explains. “That transition from condos to whole buildings was a bit of a challenge as owners initially couldn’t understand that the condo occupancy track record could apply to whole building too.”

Fast forward to today and Housing Japan now manages seven whole buildings under the MFA program.

Takahashi tells us tenants often reserve a furnished room sight unseen from the web so whether the unit is a standalone condo or in a building held by one owner didn’t matter. To the tenants, they wanted to make sure the unit they saw online accurately matched the reality, is clean and professionally managed,

Some of these buildings have units that have all converted to MFA management while others are a mix; some units target MFA tenants while others have long-term unfurnished tenants. “Buyers are excited about the program.” says Shirley Yan, Director of Sales at Housing Japan. “There are a lot of questions about exactly how it all works. If the target building is brand new then the asset is received empty and buyers can start operating all

“We have all the skills, experience and connections in the market to make this happen for investors and we are very excited to be able to bring this type of product to market with confidence and enthusiasm.”

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units for MFA from day one. “But brand-new construction is getting pricier in the city center.” Yan continues. “So, we introduce buyers to well maintained, centrally located second hand buildings. Usually these buildings have existing tenants with one or two empty units at the time of the sale.” At the point of sale, these empty units can be operated immediately as MFA units and should the owner wish, as other units naturally come empty, convert the remainder over to MFA operations. “This

is the way to realize maximum value in my mind.” says Yan. “You are locking yourself into today’s pricing by pulling the trigger on a purchase now and have a proven rent bump method to raise your yield over time to look forward to during tenure of ownership.” Mitsuo Hashimoto, President and Co-Founder of Housing Japan, continues; “We are currently discussing with some clients not only about buying an existing building but to work with Housing Japan and develop purpose-built MFA buildings from the ground up with attractive financing.” “We have all the skills,

experience and connections in the market to make this happen for investors and we are very excited to be able to bring this type of product to market with confidence and enthusiasm.” Hashimoto tells us what makes Housing Japan different is that services across the entire residential real estate spectrum are all done in house, including leasing, property management, sales and purchase along with project management. “Unlike other firms, we don’t outsource any of our services which means no matter how large a project, the continuity of service you’ll get with Housing Japan is unmatched in the industry.” Creativity when talking about real estate is often reserved for architects but anyone, anywhere in the field can make their client-offering better with the right amount of skill and out-of-the-box thinking. MFA is an innovative property management program; a section of the residential real estate industry not known for innovation. However, with the right company and people in place, even the ordinary can be made extraordinary. Interested in learning more? Contact us today to find out more, see sample buildings that fit the MFA profile or learn how your property can start earning you more at info@housingjapan.com

PHOTOS: Alfie Goodrich.

NICOLAI BERGMANN Creating experiences His name has come to represent the highest levels of flower design in Japan. He has created renowned exhibitions, including the first to be held by a foreign flower artist at the iconic Kiyomizudera Temple. From a Flagship Store in Omotesando, he has overseen the growth of a flower business that encompasses 13 stores across Japan and overseas. At the root of it all, is a unique mix of European and Japanese sensibilities.

Everything is forgettable, except the experience you create. ”I started as a florist. Nothing special. I learnt my trade in Denmark, and came here to Japan when I was 19. And I always wanted to have a flower shop - that was the one thing that never changed.”

way, which is definitely the hard way. There is no sugar coating. If you want to get somewhere, you work. You don`t like the smell. Go away. You don`t want to work 6 days a week, 15 hours a day? Get lost. I did it. It was hard, but it was the foundation of who I am now. I am grateful for that experience.”

Nicolai begins his story of how, when he started his apprenticeship and went to flower school, he was in a class with 28 girls. Asked by the teacher who wanted to have their own flower shop, 29 hands went up. Three years later, the teacher asked the same question again. This time, just Nicolai and one other raised their hands. “Which says a lot about how difficult this profession is. How tough it is. Now I am running 13 stores, all over Japan and overseas.”

And who he is now is a combination of of artist, designer and businessman. There is the desire to create, to enrich using the world with his creations. But there is also the sense that it has to be supported professionally, and that there is great value in the often breathtaking displays his company has produced for renowned clients.

Nicolai Bergmann Flowers & Design Flagship Store and cafe can be found just off Omotesando, adjacent to Aoyama Dori - at home in the center of Tokyo`s high-culture. Even amongst it`s neighbours however, the store stands out for its color, its sensuality and its vibrance. Every aspect is alive and carefully wrought to leave a strong impression on those browsing the flower collections or dining amongst the floral backdrops. As we talk, the store is preparing for Valentine`s Day, and is a riot of pinks in every shade.

”The battle between artist and businessman was something that I went through. Its easy for the administrator to take over the artist, especially now that I run a company with 200+ employees. There are things you have to do to support that, but there are also things you do because you want to, because of your own creativity or because you see how it inspires people. Now that I am in my forties and have been working here for 20 or so years, I think I have found a nice place, where I can be happy about

”It takes 3 or 4 people 2 hours to set up every morning. To clean the vases, to prepare fresh flowers, to clean the water. Its intense. But I learnt it the Japanese

being both an artist and a businessman.” Nicolai makes running a business and developing his art as two sides of the same coin. He never comes across as boasting, but is always clear that the business begets the art, which in turn, begets the business. So where does Japan come into things? Was it something from when you were young? Some brief encounter with Japanese culture back in Denmark? Not so, says the man, as he was never the traveling sort. But a brief stay here changed all that. “It happened not while I was here, but after I went back to Denmark. All of a sudden I noticed how amazing it had been to be in a different culture, so rich with art and culture, that was inspiring.” Understanding the local environment, or feeling the space, is an integral part of Nicolai`s work, be it a bouquet created for the home, or a unique centerpiece exhibition at an event space. “Everything is forgettable in this world, including and especially flowers, but the experience that you create in a home, a shop or at an event, the conversation that it can inspire, these can be unforgettable - and that is what I aim for in my work.”

And how has he found the response amongst Japanese customers? “I think Japanese have a love for flowers which is something special. In Europe, flowers are something that you take home as a gift. Here, Ikebana, the tradition of flowers, was made to express something and to enliven a space. Think about cherry blossoms. People in Japan are very aware of the beauty of flowers and the changing of the seasons, without having to think about it. I am honoured that they have responded so positively to my work.” That appreciation of the beauty of flowers may have already existed in Japan for over a thousand years, but it was Nicolai who developed the flower box - a way for people to take home beautiful flower arrangements in convenient packaging. “Flowers here were always something that was in a big package. You came in, chose what you wanted and left taking a big bundle with you. Here, you can come in and purchase a great display in a beautiful and convenient way. Customers in Japan are very aware of quality and I think we have built up a tremendous reputation for delivering quality, in a way that fits with modern life.” It is a reputation that lead to Nicolai being invited to create an installation at Dazaifu Tenmangu Shrine in 2014. “It came about because of a relationship I built with the family - you know at Dazaifu it has been the same family looking after the shrine for something like 1100 years. They are people who are aware that they have a part of history that is very fragile. They are not stuck up about it. They know that less and less Japanese people go to shrines, less and less people understand what is going on. The question they are asking themselves is how do they keep the tradition going, how do they keep the spirit alive for the next thousand years. “They take the culture and the responsibility upon themselves very seriously. That is why they began exploring new ways to attract people to the shrine and as part of that, I got the invitation to display there.” It came at an important time for Nicolai in Japan. “I had been here for 14 years. That`s a long time to spend in one place. I was asking myself what else is there? Where else could I be? But working at Dazaifu reconnected me to what I love about Japan. The unique essence of this country. The respect. How you treat the things around you. The beauty and aesthetics of the culture. Working there made me rediscover it all, and consequently fall in love with Japan all over again. I was reminded of the endless opportunities to be found here. “Something in particular struck me after the project was finished. Everyone I was working with they just did amazing work, and put it out there to be enjoyed. Its a very Japanese thing and I admired it greatly.” Dazaifu saved Nicolai from a crisis of confidence in Japan and set the stage for another of his great artistic works. Kiyomizudera in Kyoto is an icon of Japanese culture, with its famed wooden pillars strutting out above the trees on a hilltop overlooking the ancient city. It has stood for more than 1200 years, has become a UNESCO world-heritage site, and in 2017 Nicolai became the first ever foreign flower artist to hold an installation there. It was, he says, another significant moment. “They had never had flowers inside the temple grounds before, and that was special. It was a

“You have to admire someone who continues to have an impact in Japan, knowing that he is working with something as delicate and ephemeral as nature itself...”

whole new experience working there. I would go in at night, after the temple had closed to the public and I was all alone, just myself creating among the empty grounds. That was something I was aware that very few people have had the chance to experience.” Other collaborations and an expansion of his businesses have followed - and not just in Japan. Recently Nicolai has been working with the Four Seasons Hotel in Singapore. Its a partnership he began working on in Japan with their hotels in Marunouchi and Kyoto, and now for Singapore he has introduced a new concept. “In this case, because they are far away, we are not handling the day-to-day arrangements. They have an excellent team in place and we are consulting and advising them - under the brand Nicolai Bergmann Flowers & Design - and with our input they have done some great work. I think anybody that walks into Four Seasons Singapore will be amazed at the results.” Also taking up a lot of Nicolai`s time right now is the opening of his first store in Los Angeles. Located in a corner of Beverly Hills, the first US store is set to be three times the size of the Omotesando Flagship Store, and as might be expected, products for sale are going to be in American sizes. “Its America, everything is bigger, even just the flowers that we have to work with there. So although the product range will not change, nor the focus on detail, the size of everything will naturally be bigger.” What was the appeal of the US I ask. “It`s the events that they do in Los Angeles - they are massive and they have never seen anything like what we have here. So far everyone I have shown it to is very excited.” I also wonder if he tells people he is Danish or Japanese. “I tell them both” is the answer - its a very interesting mix for the American audience, both northern Europe and Japanese. Everybody wants to see what results from that creative mix. To stay true to our roots here in Tokyo, I intend to hire Japanese staff as much as possible as well. Japan is integral to who I am and what our brand stands for today. It’s been 20 years since Nicolai started work as a flower artist in Japan and serving Japanese clients and customers has been an honor.”

Aside from that, Nicolai wants to talk about a his plans for a 4500 sqm park and cultural center (among other things) in Hakone - the premier resort town, with its own stunning natural environments, that is a short train ride from Tokyo. “I am not developing it into a flower park. Of course flowers and botanical installations will be a part of it, but I intend for it to be a place for people to enjoy the beauty of nature as it is. Not manicured nature, or a place with set hiking trails, which you see a lot of in Japan, but a safe place to encounter nature in its purest form. Nicolai gets particularly determined when talking about the possibility for new collaborations that it opens up. “My dream is to hold matsuri there, to create different spaces highlighting different works that people can discover in their own way and at their own pace.” “I have been working on it for the last 3 years. We have built a huge house and now we are working on the land, I want to open in time for 2020 and attract both Japanese and foreigners to look again at Hakone. In my wildest dreams I hope that I can inspire new businesses to open up there, to help the area grow once more.” It is a bold and beautiful idea. But with Nicolai, you get the sense that something wonderful could just be about to sprout up. There is a respect for nature, for beauty and for the natural process that comes across at all times. You have to admire someone who continues to have an impact in Japan, knowing he is working with something as delicate and ephemeral as nature itself. Nicolai Bergmann Flowers & Design Flagship Store in Tokyo can be found at 5-7-2 MinamiAoyama, Minato-ku, Tokyo107-0062. The cafe and flower shop open from 10am to 8pm. More information can be found at: www.nicolaibergmann.com/en/

Photos of Bruce Nachbar: Alfie Goodrich.

FILMMAKING IN TOKYO:

Bruce Nachbar

Veteran Hollywood producer discusses finding a role for himself in Japan, his first all Japanese movie, and working with some of the worlds biggest brands here in Tokyo. He speaks to Robin Sakai.

“I remember one time I was in the screening room with Steve Jobs and the production team at Pixar, and we were reviewing test footage for Monsters Inc. I was production manager and the technical task was how to create dynamic fur. Making the character’s hair automatically move with it’s body. Pixar strives to break new technological ground on every project.

that won Academy Awards, Emmys, Golden Globes, etc. - the people on them were the best of the best. Writers, producers, directors, cinematographers. That was how I was brought up in the industry and it instilled in me the ethic to always do the best work possible.” Bruce Nachbar currently divides his time between being responsible for all film and video production for fullservice production agency Empire Entertainment, and completing his first all-Japanese movie, Kita No Hou E / To the North. We chat in Empire`s atmospherically-set offices, in Toranomon.

“They pick one thing to really challenge themselves, and on Monsters Inc, it was Sullivan’s hair. So, the test footage ran, the lights came up and everyone looked for Steve’s reaction.” ‘That was good. We don’t do good.’ And he left. Of course it became great. That experience stuck with me – you read books about Steve and about how ‘good is the enemy of great’ and all of his other insights. I was lucky to be there, in the room with him and hear that. And that experience became part of my creative DNA.

After a career of over 20 years in Hollywood, spanning Pixar (Monsters Inc.,), live-action cinema (Free State of Jones) and TV (The Wonder Years; House; Party of Five) he moved to Japan in 2008. A move made for love, rather than for career or opportunity.

Throughout my career, I was incredibly fortunate to work with great people in the film and television industry during my time in the US. Working on shows

The transition from Hollywood to Japan has been an interesting one, and he has strong opinions on the challenges of navigating the Japanese film and

television industry. “In Hollywood, very often a project is driven by a singular vision. That film or television show will be a direct reflection of you. You may not succeed, but the intention going in is to do the best you can. I think in Japan with the committee-method of making decisions, that intention can get diluted. To create great art, or being a great business entrepreneur, needs a person with the passion to protect the results.” It can’t all be bad though, I ask. “Not at all. There are great indie filmmakers in Japan; academy award-nominated quality. Look at the history of film, and the history of the arts in general; Japan is an incredibly important place. There are great filmmakers here, it’s just a matter of giving them the opportunity. They just need the chance and the incentive to do it - studios in Japan will need to understand that it requires a different way of doing things. Maybe Netflix, or Amazon can be the catalyst there, because if they stick to their methods as they have in other countries, they will attract the best talent. “I remain very excited by the possibilities in Japan, because usually when times are challenging and change hasn’t happened for a long time, people see an opportunity to do something new and exciting. There is some incredible potential in this country.” We then talked about that potential: the films that have shone with their originality; Japanese films popularity in China; the power Japanese culture and environments has when conveyed to viewers around the world, when captured with a personal perspective. Kita No Hou E / To the North Bruce is taking things into his own hands with the production of the movie Kita No Hou E/To the North - his first all Japanese production; a film that he has written, directed and produced. ”I wanted to do a movie in Japan, and I wanted it to be about Japanese people, in Japanese. I am a foreigner, but I wanted to do something about and for Japanese people.“ Bruce explains that in setting out to make this film, outside of the Japanese studio system, he was forced to work with some tight constraints. “I teach movie production in various workshops around the world and one of the things I always teach is responsible budgeting. A film’s budget needs to match its financial prospects. People who invest in movies have money; the reason they have money is they are smart, and they are not going to invest if there is no chance of it making money.

It is difficult to raise money for a film within the standard Japanese system. I am incredibly fortunate that Ted Miller and Empire Entertainment believed in the project and put up a considerable portion of the very modest budget. I also put in a little of my own money. Strategy Set, a film production company I’ve worked with since I arrived here provided equipment and that saw us through production. Then I started a Kickstarter campaign to cover the minimum amount needed for post-production, and to start the process of getting the movie out there and building a relationship with the audience. It was an exciting thing to do, to see who would

support us. As it turned out, we had broad interest from both within Japan and overseas.” Bruce’s Kickstarter was a resounding success, with 180 backers pledging nearly ¥2.6m. Kita No Hou E / To the North, tells the story of two friends, still living with their parents, who decide to shake themselves out of apathy by taking a trip to the north of Japan. They set out on the road in a tiny Subaru camper van, decorated with eyelashes and a tiara, each with their own reasons for going. Suddenly a girl drops into their lives and turns everything upside down. “One of the things that I’ve noticed is that the youth in Japan have learned to live down to people’s expectations and passively accept their perceived limitations. Kita No Hou E / To the North is a story about deciding to take charge of your life and live it to the fullest.” Although written by Bruce, the script was professionally translated and then given to the actors who were invited to contribute and modify the script based on their own experiences of growing up Japanese. “I wanted to make sure it was an accurate representation of young Japanese people. I wanted to show my love for Japan; I also recognize I am not young, and I am not Japanese, so I gave the actors the opportunity to take responsibility and make the role their own.” And the road movie format seems like a perfect way to do that, I point out. “Yeah, I knew right from the start that I wanted to get out of Tokyo. Getting out into the countryside, not only makes the shoot easier, but provides stunning backdrops and amazing people to work with. “We shot one scene in a small amusement park. They were incredibly accommodating, we just had to spend the 300 yen price for the ride tickets. Another time, when we were snowed in and unable to make a festival in Akita that we needed to film, we discovered an almost identical event taking place in Fukushima, where we were. They welcomed us with open arms despite only giving them a single day`s notice.” And the goals for the film, other than just to put it out there and make a good return? “Tokyo International Film Festival would be amazing, I live here, it`s my home now, and it would make

me so proud. Busan is such an important festival in Asia. And of course, I am from New York, so I would love to get it into Tribeca.” “Its a movie I want people to enjoy. Many Japanese indie movies are, I have to apologize for my honesty here, but they can be depressing! People dying, people losing their memory. There is no reason why an indie can’t be fun, enjoyable and give everyone who sees it a great time. You owe it to everyone who supported you on the project, the crew, the actors, the ryokan owner who brought us hot soup at two in the morning when we were filming in the snow, you owe it to all of these people to make the best film possible.” Empire Entertainment The last few years have seen Bruce move into the world of marketing with Empire Entertainment, a Tokyo and New York-based production agency, where he works as a producer and director, in charge of all film and video production. He brings to this corporate realm the same keen sense of storytelling and dedication to quality he developed in Hollywood. ”I started working with Ted Miller (President of Empire Entertainment) when we worked on a project for Panasonic; I think it may have been the first time they used a foreign owned and operated agency for this particular area, and it lead to lots of great work after that.” At Empire, Bruce oversees all of the film projects but the company itself handles everything from the design and production of major events, advertising, graphic design, broadcasts, parties, conferences, product launches, festivals and awards. “Working inside a company naturally means less freedom than being a freelancer, but that is more than compensated by the opportunity to work with some great people and some great clients like adidas, Bulgari and Salesforce.com. The value I hope I bring is my desire to always instill some kind of arc, to ensure there is a story being told, whether it is a longer form video or a 15 second Instagram clip.” For more information on To The North, visit: facebook.com/kitanohoue/ For more information on Empire Entertainment, visit: www.empireentertainment.jp

GRAVITAS Gravitas is the brand name that Housing Japan gives to its own, ultra-luxury home developments.

It represents beautiful freestanding homes, built to the highest levels of world-class luxury design and located in super-prime, central Tokyo. Each Gravitas is a unique statement of success, embodying all that is beautiful in modern city living. Everything in a Gravitas

property is finely crafted for a purpose. Large and expansive living areas are beautifully finished with an incredible attention to detail. Rooms are smartly designed, carefully placed and extremely well appointed. Only the best appliances are fitted, while great care is taken when selecting the best selected natural materials. All completed to to the highest international standards. Just as each neighborhood in Tokyo boasts its own history and culture,

so each Gravitas residence will also include its own unique features. On each project we approach the design in a fresh way, looking to create something breathtaking, that will make each home special. The focus is to ensure that coming home to a Gravitas property is a truly inspiring experience. This approach to quality and the experience

provides the owner of a Gravitas with an incredible asset that will last long into the future. Tokyo is the place-to-be for those that want to be at the heart of fine-living in Asia, and with a bright future ahead of it, the unique proposition of a Gravitas property is yet further enhanced. Gravitas answers a demand for world-class living

in the heart of Tokyo. From the earliest design stages, right through to completion and sale, everything is managed by Housing Japan. To find out more, contact: Housing Japan Project Sales info@housingjapan.com

CASINOS Japan joins the table

DEVIL IN THE DETAILS AS GLOBAL PLAYERS HEDGE BETS By Anthony Fensom

Japan’s government is betting on a multibillion-dollar windfall from the newly legalized casino industry after having pushed through the necessary legislation in July. With US operators among those eyeing a seat at the table, will the new industry deliver its promised benefits? Known as integrated resorts (IRs), because they combine casinos with hotels, entertainment, and conference facilities, the centerpiece of Japan’s new industry can now take shape after two decades of debate. Public opinion polls showed six in ten Japanese opposed casinos, amid concerns over adding to gambling addiction and crime. The opposition made desperate attempts to block passage of what has come to be known as the Casino Law. Yet, Japanese Prime Minister Shinzo Abe’s push to create a “tourism-oriented country” ultimately won the day. It has delivered a potentially powerful tool for the administration to use in its plans to attract new investment and jobs—particularly for regional economies.

GROUND RULES

In what commentators described as “Singapore-

style” legislation, the IR bill allows just three licenses to be issued initially while requiring that 30 percent of the gaming tax will be paid to the central and local governments. The rate is higher than that in Singapore but lower than in Macau. Gaming areas will be restricted to three percent or less of total resort floor space, allowing plenty of room for hotels, restaurants, and shops. Similar to Singapore, entry will be free for international visitors while locals will face a ¥6,000 ($53) admission fee, will be restricted to 10 visits per month, and must present their My Number identification card. Insiders polled by The ACCJ Journal were generally positive about the legislation, amid earlier concerns over potential restrictions—including tougher limits on casino size and calls for Japanese to be barred from entering. “We were led to believe it would be Singaporean in its style—and it is. It’s out-Singapored Singapore in some ways,” said Andrew Gellatly, head of global research services at London- and Washington DC-based GamblingCompliance, which provides legal, regulatory, and business intelligence to the gambling industry.

PICTURE: Caesars‘ Tomakomai Hokkaido concept

see how a local government will handle it,” said an industry source.

Gellatly highlighted the entry fee for locals, saying that “the same sort of entry fee has been tried in Singapore and it’s had an effect.”

A casino control commission to oversee the new industry is planned for 2019. Local governments are then expected to select operators by 2020, after which the central government will award licenses to the winning three bidders. Allowing for a threeto-four-year construction period and potential environmental issues, and the first IR might not open until 2024 or 2025 at the earliest.

A bigger concern for companies eyeing one of the three licenses is the stipulation that they will be valid for just 10 years, then subject to renewal every five years providing the companies gain approval from the local legislature. “Ten years is not a lot of time—including construction—to make money out of a casino. For example, Macau has 20-year licenses.” Gellatly explained. “And the building process is not fast in Japan, since buildings have to be earthquake-proof and environmental impact assessments, which can take years, must be done.”

GOLDEN GOOSE

Estimates of the industry’s value vary, depending on the location and number of IRs established. In September 2017, Fitch Ratings, Inc.—one of the Big Three credit agencies—predicted that Japan could generate gross gaming revenues of $6–$9 billion, “depending on the number of integrated casinos approved and their physical footprint.”

Operators will also be watching nervously as Tokyo bureaucrats map out some 300 regulations that will shape matters such as the amount of convention space available and tourism promotion.

However, in May 2018, the agency slashed this forecast to $6 billion due to its expectation that only one IR license would be awarded to a major city.

“Like all Japanese legislation, the devil is in the interpretation and application, and we’re yet to

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governments—along with a desire to strengthen the Kansai economy—have put the western Japan metropolis in pole position among potential sites.

The other two it saw going to smaller locations. Annual revenues of $3 billion are predicted for the large metropolitan IR and $1.4 billion each for the provincial resorts. Goldman Sachs Japan estimates potential total gaming revenue of ¥1.75 trillion yen ($15.8 billion) a year assuming the three IRs are located in Tokyo, Osaka, and Hokkaido. This would exceed the $11.1 billion brought in by Nevada’s casinos in Las Vegas and Reno. GamblingCompliance’s 2017 report noted the resorts’ potential to reinvigorate regional economies by making them hubs of tourist activity and employment opportunities, as well as boosting the nation’s meetings, incentives, conventions, and exhibitions (MICE) industry, which trails that in each of its Asian rivals.

Morgan Stanley has estimated that a casino in Osaka could generate some $4 billion a year in revenue. A study by the UK-based Oxford Economics projected the creation of more than 77,500 jobs and annual tax revenues of $3 billion. The prefecture expects a resort to attract 22 million tourists a year by 2030, including seven million from overseas. Arthur Matsumoto, co-chair of the ACCJ-Kansai External Affairs Committee, believes Osaka will be the first to receive a license. “Osaka is leading the pack, and our members are pretty positive about hosting an IR,” he said. “There’s available land, the government is supportive, and the business community is onboard.”

In 2014, Singapore hosted 142 MICE events and Beijing hosted 104. Tokyo hosted only 90. Each IR is expected to ultimately generate up to 60,000 new jobs, which would be a game changer in a location such as Wakayama, with its relatively Goldman Sachs Japan small population of 360,000. It estimates potential would also boost larger cities such as Yokohama, which is total gaming revenue looking to step up efforts to of ¥1.75 trillion a year. shore up its tourism industry.

FRONT-RUNNERS

At least eight major operators are said to be courting Japan’s third-largest city, including Las Vegas-based Caesars Entertainment Corporation, MGM Resorts International, and Las Vegas Sands Corporation from the United States, along with Hong Kong-based Melco Resorts & Entertainment Limited. MGM is considering a potential total investment of “up to and around $10 billion.”

Despite higher costs than other Asian markets for construction and labor, Japan is still seen as a highly profitable location for IRs. In fact, the country could potentially achieve the world’s highest daily win-rate for slot machines. “The casino industry in Japan still looks like a golden goose that could lay some golden eggs,” said Gellatly. “But, right now, there are 300 regulations and two years of lobbying ahead to stop it becoming an ugly duckling.”

OSAKA 2025?

November 23 looms large as a key date for Osaka, which is bidding against contenders from Azerbaijan and Russia to become the host city for Expo 2025. Should the Kansai city win the bid, it plans to build the necessary facilities for the world exposition on Yumeshima, a man-made island in Osaka Bay that is also being eyed for Japan’s first IR. While building both simultaneously could cause construction delays, securing the expo might help Osaka get national funding for the required rail and road infrastructure to the island, which could cost up to ¥20 billion ($177.9 million). Declaring plans to open an IR in time for the expo, Osaka Governor Ichiro Matsui has said that he would seek to accelerate the process by gaining provisional authorization from the central government before the guidelines are finalized.

“Of the major cities in Japan, Osaka is the only one that has formally raised its hand and expressed interest,” Alan Feldman, executive vice president of MGM Resorts International, told The ACCJ Journal. MGM Resorts Japan CEO Ed Bowers said that “MGM is focused on potential opportunities in the larger areas of Japan. Certainly those cities would include Tokyo, Yokohama, and Osaka.” And Feldman added that MGM “does not intend to go it alone. Our intention is to work with Japanese companies in a consortium.” Tokyo would represent the jewel in the crown for operators, with Odaiba in Tokyo Bay and Chiba Prefecture seen as potential sites. But, Tokyo Governor Yuriko Koike has seemed less enthusiastic amid the capital’s focus on building infrastructure for the upcoming Tokyo 2020 Olympic and Paralympic Games. “There are voices concerned with addiction and other problems,” Koike told reporters at a news conference on July 20. “We need to consider the merits and the drawbacks.” Nearby Yokohama, Japan’s second-largest city, is also facing political opposition despite support from the business community. An inquest into public

“If all goes well, a casino in Osaka could open by 2023 or 2024 at the latest,” Matsui said. Support from both the prefectural and city

opinion found 94-percent opposition to a proposed IR, while the city government has indicated that it will pull out if Tokyo bids. In April, Yokohama Mayor Fumiko Hayashi suggested the project remained a “blank slate” and still faced issues, including gambling addiction.

MAJOR PLAYERS Caesars Entertainment

Yukio Fujiki, chairman of the Yokohama Harbor Transport Association, has been a vocal opponent of the planned IR, which probably would be built at the port city’s Yamashita Pier.

Crown Resorts Las Vegas Sands

“People are saying one thing and doing another. Mr. Fujiki had a press conference recently saying he would present a master plan for the harbor that wouldn’t include a casino, yet he had a couple of responsible gaming experts on his panel. So, if he’s not planning a casino why is he worried about responsible gaming?” asked Gellatly.

Melco Resorts & Entertainment MGM Resorts International

REGIONAL REVITALIZATION

Sega Sammy Holdings

Apart from the three major cities, some 35 other municipalities reportedly have shown interest in hosting an IR. These include ones in Hokkaido, Nagasaki, and Wakayama Prefectures. Among the towns and cities vying for a license, Hokkaido’s port city of Tomakomai is seen as potentially the second favorite behind Osaka. Near New Chitose Airport, which offers direct flights across Asia, the city of 170,000 is eyeing an IR as a means of keeping its young people at home and preventing a further population decline. In March, the city government projected that an IR would require an investment of up to ¥300 billion ($2.7 billion) and could generate ¥150 billion ($1.3 billion) in annual revenue. It is expected to provide direct and indirect employment for up to 44,000 people and to attract up to six million tourists a year. “Casinos have a proven record of revitalizing local economies by increasing tax revenue and jobs,” said Adam German, vice president of business development and marketing director at Housing Japan K.K. “The increased tax revenue—if managed well by city officials—can be used for infrastructure upgrades that are necessary to attract talent from other parts of the country. While this new talent may or may not work directly for or with the casino, the additional revenue their presence generates will help the city more than a casino might harm it.” German added that those who claim that a casino will create only temporary or part-time jobs aren’t seeing the big picture. “This is too short a view, in my opinion. It doesn’t take into account the secondary job creation that comes from entrepreneurs who choose to plant the roots of their companies in the city.” This secondary job creation, fueled by better infrastructure thanks to increased tax revenues from the casino, will, in time, spur increased wage growth and higher household spending.

While Sapporo and Kushiro cities have also indicated their interest, Tomakomai appears favored due to strong backing from all levels of government as well as the local business community. Further south, Nagasaki Prefecture’s Huis Ten Bosch resort in Sasebo is seen as a strong contender. The Nagasaki prefectural government predicts an IR in Sasebo could generate economic benefits of at least ¥260 billion ($2.3 billion), create 22,000 jobs, and attract 7.4 million visitors annually. But the city and prefecture would need to improve transportation links. Similar to other favorites, the Huis Ten Bosch plan has the support of politicians and the local community— particularly young people—according to a May 6 story in The Japan Times. While Osaka, Tomakomai, and Sasebo appear to be the most likely candidates, other local governments have also expressed varying levels of interest. Wakayama Marina City in Wakayama Prefecture, Echizen in Fukui Prefecture, and Aichi Prefecture’s Tokoname—home to Chubu Centrair International Airport—are all in the mix. However, the

latter three reportedly face various issues, including political differences and concerns over costs. In the case of Wakayama, the prefecture is competing with Osaka for attention in the Kansai region. “Wakayama can’t be ruled out due to the political power of Toshihiro Nikai, the Liberal Democratic Party’s Secretary General who represents the Wakayama third district in the lower house, although it is a waterside location and suffers similar infrastructure issues [to Yumeshima],” Gellatly said. “So, I think you’d say Osaka, Hokkaido, and one of the cities in Nagasaki or Wakayama would be the first three licenses. But, Tokyo emerging would immediately push all three down the list.”

LOBBYING GAME

While city governments are eyeing potential economic gains, operators from the United States, Asia, Europe, and Australia—as well as local Japanese operators—are engaging in their own race to win favor ahead of the licensing decisions. From intricate IR designs to donations to natural disaster recovery efforts and support for Japanese arts, the bidders are seeking to win the hearts and minds of politicians, governments, and the community. Caesars Entertainment has promoted different themes for its IR concepts, including a wellnessthemed IR for Osaka, an integrated eco-resort for Hokkaido, and an arts and culture park for Yokohama that would have a wave theme that reflects the city’s history as a port. Goldman Sachs sees seven main players among the foreign bidders: Las Vegas Sands; Hong Kong’s Galaxy Entertainment Group; MGM; Wynn Resorts of Las Vegas; Macau’s Melco; Genting Singapore; and Caesars Entertainment. Other operators have emerged from Europe and the Philippines, while Australia’s Crown Resorts Limited has also quietly continued its engagement efforts despite media reports to the contrary. Gellatly suggested Genting was gaining a lot of traction at the political level. “They’ve already put money aside for a development and have no negatives, in that they’re not associated with Macau and have shown they can operate an IR of decent size in Singapore without the involvement of junkets [Chinese gambling groups], which is what would be required in Japan, too.” He also pointed to Las Vegas Sands, which has predicted an investment in Japan of “as much as $10 billion” and has a track record of having built Marina Bay Sands in Singapore. Among the locals, travel agency H.I.S. Co., Ltd., railway operator Keikyu Corporation, financial services group Orix Corporation, and trading house Sumitomo Corporation have all been linked to potential bids—although only gaming company Sega Sammy

Holdings Inc. has previous industry experience, in South Korea. “What’s interesting is, as it gets to the beauty contest stage, we’re now seeing 20 to 25 different groups emerging as potential suitors. There is more discussion of Japanese bids. They’ll find a Western gaming partner to do the gaming management, but will do the bid themselves,” Gellatly said.

PROBLEM GAMING

Achieving the industry’s ambitions will require greater community engagement along with measures to tackle problem gaming—a particular focus of current corporate social responsibility (CSR) efforts. In one example, Caesars Entertainment has committed ¥50 million to a CSR fund to support responsible gaming initiatives in Japan. “The government has made it clear that problem gambling is a significant concern, and we will make certain that the funds will be used to address government priorities to decrease problem gambling prevalence in Japan and create strong prevention campaigns,” said Caesars President and CEO Mark Frissora. Pointing out that problem gamblers exist in every country—regardless of whether it has a casino industry—MGM’s Feldman suggested the industry could adopt new technological solutions in Japan such as facial recognition, and combine them with existing solutions such as self-limit or self-exclusion. “Japan is going to have newer technology, in part because it’s Japan and also because we’re looking at building these programs in the 2020s and not the 1990s,” he said. “We’re very actively engaged with companies in Japan and elsewhere in trying to determine the right combination of technology.” Yet, if the industry can successfully manage such issues and deliver on its promises, the potential exists for Japan’s market to become “bigger than Singapore and likely end up being the second-biggest IR market in the world,” MGM’s Bowers said. Should that occur, Abe’s vision of a sustained boom in tourism is far more likely. Data released by the Japan National Tourism Organization on October 9 shows 21.3 million visitors for the year through August, and Abe’s goal is 40 million per year by 2020. If the projected boost from IRs is correct, one of Tokyo’s biggest political gambles in decades might just pay off. Article originally from the November 2018 issue of The ACCJ Journal, published for the American Chamber of Commerce in Japan by Custom Media.

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PROPERTY PORTRAIT Domus Nishi-Azabu

A very large 4 bedroom, 1st floor condo with vast private garden and expansive living-dining-kitchen space, just a few minutes walk from both Roppongi Hills and Arisugawa Park in Hiroo. The exquisite master bedroom with en-suite bathroom and walk-in closet

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There are two further large bedrooms with their own in-built storage as well as a Japanese room that can be used for accommodation, entertainment or relaxation.

Roppongi Hills, Tokyo Midtown and Hinokicho park put an incredible wealth of business, culture and entertainment on your doorstep with many corporate headquarters, big-brand shops and eateries in the area.

Undoubtedly the centerpiece of the apartment however is the large, wrap around garden that retains its privacy thanks to the

A REPUTATION OF A THOUSAND YEARS, MADE ANEW: AMAN TO OPEN IN NISEKO AND KYOTO

pieces, bespoke furniture and floor-toceiling windows with serene views of the surrounding grounds, themselves landscaped in the Japanese aesthetic that is based on philosophical ideas of avoiding artificial ornamentation, and highlighting natural beauty.

Those who stay at an Aman property experience the highest levels of living, in the world’s most beautiful destinations. Since opening in Japan, the brand has redefined the potential of the hotel experience in the country, just as it has done at other select destinations around the world. From the top floors of Otemachi Tower, Aman Tokyo provides an urban oasis of serene luxury overlooking the Imperial Gardens and the skyscrapers of Japan`s most powerful business district.Aman opened a second resort in Japan, at the Ise Shima National Park in 2016, and is now expanding further, with two new properties.

At the center of the experience will be four public pavilions. A Living Pavilion will cater to all-day dining, benefiting from a particularly rich local cuisine, as well as the typical Japanese dedication to quality. But it is the spa pavilion that illustrates what will make this Aman unlike any other. It will combine the holistic approach to personal wellness that Aman is famous for, with the finest traditions of Japanese onsen. Private residences will be made available for sale at Aman Kyoto beginning March 2020, with completion to follow in 2022.

Aman Kyoto will open in November 2019, and is located in a forested region of Takagamine, a short distance from the iconic Kinkakuji Golden Pavilion and 17 UNESCO World Heritage Sites, in a beautiful corner of the ancient city.

Aman Moiwa is the second of the new Aman properties in Japan, located on an untouched mountainside in Niseko. This is Japan`s winter wonderland, where snow falls in silence for an incredible five months of the year, and mystical slopes role into the horizon for what feels like

As with Aman Tokyo, interiors of both the hotel and residences will draw inspiration from the traditional ryokan. Suites are finished in natural wood and tatami, complemented by beautiful art

forever. If you were to imagine yourself on top of the world, with snow-white landscapes and virgin forests stretching out below, then you can understand the appeal of Niseko. The resort has established itself as the destination-of-choice for the elite of Asia, attracted not just with by the world-class skiing on pure powder snow, but also for the natural hot springs, rich local traditions, and farm-fresh cuisine. Even within Niseko, Moiwa stands out. The wider-resort has developed an elegant collection of luxury homes and hotels to cater to its discerning visitors, mostly centered in Hirafu area, at the base of the mountains. With it`s Moiwa property though, Aman has secured the only location for construction to exist on the mountainside, part of what is a tightly controlled nature reserve. It ensures that the hotel, and 31 private villas that will be offered for sale, will be truly set apart from anything else in the resort. It also ensures that they will enjoy a

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LEAVE PORT, CUT THE ENGINE One Tokyo businessman’s journey with sailing in the land of the rising sun.

PHOTOS: Alfie Goodrich.

SAILING IN JAPAN

Jeremy Sanderson

Jeremy Sanderson has worked hard in Tokyo building many companies and a reputation for himself that is beyond reproach. Then one day not too long ago, Jeremy decided that he wanted to take up sailing.

“Often people now ask whether I had experience sailing when I was a kid. My parents sailed dinghies but that was when I was 5 years old. However, you’d be amazed at how the feeling of sailing now is as comfortable as an old pair of slippers. I was driving past the Wakasu Sailing School near Yumenoshima and noticed some people sailing dinghies. I’d never thought of myself getting into sailing but after going past the school a couple of times, I stopped in and began asking questions.” That’s when Jeremy learned he could take sailing lessons for ¥7,000 per lesson. Quickly realizing that the cost was less than a night out in Tokyo, Jeremy committed to a lesson. “I always fancied the idea of sailing but never really knew where to begin until that day. After that first lesson, I started with dinghy sailing but I knew nothing about getting a license.” According to Japan maritime law, there is no license required for operating a sailboat. That said, it is illegal to sail in and out of harbor; the boat must be

powered by motor whilst traversing from open water to dock. If the boat has a motor then a license is necessary. Jeremy had learned through a connection at the Tokyo American Club (TAC) that there was an organization called the Tokyo Sail and Power Squadron (TSPS) that acted as the de-facto governing body on guiding English speaking people through all facets of boat ownership and operation, including how to get licensed. “When I contacted TSPS directly, I learned they have night-lessons where I can prepare for the boating test.” Night-lessons are classroom studies that tackle topics like international versus Japanese rules-of-the-road; a system of water traffic rules that governs how ships should work around each other close to port and out on the open seas. There is then an on-the-water element of the class which teaches pre-launch boat checks, man-overboard exercises and rope skills. “The majority of the test is written with a one time on-the-water test.” Jeremy explains. “On-the-water testing involves safety checks, maneuvering in and out of buoys while not hitting them, pre-

launch safety checks that include making sure there are enough lifejackets, checking the fire extinguishers, checking fuel and oil properly along with a propellor check to make sure it isn’t fouled. “Then there’s the knot tying test.... There are three knots sailors generally use; a cleat hitch, a bowline and a clove hitch. Part of the licensing test is for the instructor to ask you to tie one of these knots on the spot. How well you tie the knot is deemed to be representative of how you can tie all three. You are not aware prior to the test which of the three knots you will be asked to tie so proficiency in all three are a must. The rest of the test is written and mainly has to do with what is called the “Rules of the Road”; a system of maritime traffic laws that govern how ships are to give who what right of way. Japan and the United States have one set of rules while the rest of the world has another. There is not much difference between the two sets except when it comes to reading lights in harbor. When entering harbor, the international rules state that entrances to harbor must be communicated to skippers with the red-lit buoy being on the left hand side and a green-lit buoy on the right of the entrance. The Japan and US system have these colors reversed; the red buoy is on the right, green on the left. There is a lot of conjecture as to why this is but prevailing is that the split date back to the American war of independence. It is thought that the Americans intentionally reversed the lights in order to send British ships into the rocks when docking. FALSE STARTS Jeremy passed his test and then needed to set about finding a suitable boat to purchase. “I had heard from a TSPS friend that there was someone who was giving a boat away for free. The boat was located in Kyushu so I jumped on a plane with another sailing friend to go and take a look.” The original idea was for Jeremy and his friend to co-own the boat and share the expenses of ownership. However, that idea rapidly fell apart when they saw that the boat itself looked like it would fall apart just as quick. It was in such a state of disrepair that it would have required a lot of investment just to make it seaworthy again. It is unfortunately common with boat owners to leave their boats at the marina for very long periods of time prior to them being sold or even given away. In this boat’s case, the owner had passed away and Jeremy and his friend were speaking to the owner’s wife who was looking for someone just to take the ship off her hands. The two friends decided to give this boat a pass and asked at the marina if there were any other free boats to be had. The dockmaster replied while not free, there was another boat at the marina she knew to be for sale with a price tag of ¥300,000. While the boat was generally in reasonable condition, there was only one problem; it had a bend in the mast. Thinking this was a bargain even with the bent mast, Jeremy and his friend discussed seriously about buying the boat right then and there. However, Jeremy being the pragmatist, decided to post the situation on Facebook, hoping the more experienced sailors he’d met through the TSPS would see the post and offer advice. “My original thinking was to simply replace the mast but the minute I posted on Facebook, the advice against the purchase started rolling in. It was a boat called the MacGregor which was mass-produced in the US, designed to promote lower priced, entry-level yachting. According to the advice from Facebook friends, the boats weren’t strongly built so when the mast took a hit, it put a lot of stress on the rigging lines which transferred the force into the hull. Most likely that force transfer would have caused fractures in the fiber-glass hull which wouldn’t be seen with the naked eye. A new mast it turned out, could only be ordered via the American manufacturer at a cost of ¥200,000 but shipping the mast would cost ¥500,000. This was on top of the asking price of ¥300,000 for the boat and without knowing exactly the state of the fiberglass hull, already the price of ownership was approaching the better part of a million yen. “We decided to pass on the opportunity.” After that, another friend of Jeremy’s from the TSPS heard he was on the market to buy a boat and happened to know someone looking to sell. That vessel was in Himeji, Hyogo prefecture. Jeremy jumped on a bullet train to go down and take a look. “I thought it was gorgeous and the seller wanted a ¥1 million for it. It was a 25 year old Yamaha but the condition was great and the interiors were beautiful. Since I’d had learned from the couple of false starts already, I was confident in the decision so I went ahead with the purchase.”

I AM THE SKIPPER Jeremy tells us a story of when he went out with some more experienced sailors. “They had decades more experience than I,” Jeremy explains. “But out on the water, there can and must be only one skipper. When out on the water, leadership is paramount and the skipper of the boat has all legal responsibility; the buck stops at the top for crew and boat safety. Should something go wrong, then it is the skipper whose head is on the block.” In 2017, Jeremy and TSPS friends planned a 5 day trip through the Seto Inland Sea, or Setonaikai in Japanese. The Setonaikai lies between the main Japanese islands of Honshu, Shikoku and Kyushu. It is also one of the busiest waterways in Japan. If anywhere one would need strict adherence to Rules of the Road, it is in the Setonaikai. Ferries mingle with supertankers with pleasure craft dotted about. With this much traffic, Jeremy set about his biggest challenge yet. “While we were planning the trip, if there was one dissenter for anything we were planning, then we would alter the plan to something we could all agree on. That said, once we were out on the water, my two more experienced friends were happy to defer to me as skipper if necessary. Like the story of too many chefs in the kitchen, too many skippers on the boat will only result in chaos and confusion. This is one of the most fundamental basics of sailing and adherence to the one-skipper rule is something that shouldn’t need to be said. “I say it. Prior to launch, my crews have a meeting and I convey two things clearly so there is no confusion; First, if you find yourself with nothing to do on board then you are watching the horizons for danger. “Secondly, I am the skipper.” This declaration is not an ego driven statement but more of a practical one. Rules of the road dictate what should happen on the seas regarding right of way. But, if you are in a dinghy and you are amongst supertankers so large that the captain cannot see anything within 3 miles of the bow because the ship is so big, no amount of rules will help the supertanker turn or stop in time. If someone is going to order the crew to not insist of ‘right of way’ for example, it is the skipper who decides this on a case by case basis. CUT THE MOTOR Four months prior to meeting for this article, Jeremy tells us about one of the best times he’s had so far on his boat. “A friend and I were sailing and it was one of those perfect days where the wind and temperature were just right, the water was sparkling and the sound was soothing. Suddenly my friend called out “Dolphins!” and I turned to see three of them swimming beside the boat.” Jeremy kept the boat on course, watching the dolphins keep pace with the vessel and it really sunk in that sailing isn’t just about piloting a boat but much more along the lines of navigating through an element of nature. “Any sailor who thinks they can control nature though, is mad.” Jeremy says. “The sea has its own rules, it can seem as if the skipper has more control then they really do. However, it’s much more about working with nature and respecting the power it holds.” I asked Jeremy what is the best part of taking the boat out each time. “Living and working in Tokyo is stressful. However, Oita is a short plane ride from Tokyo and the marina is a 5-minute taxi ride from there. Once you’re on the boat and power out of the marina, get away from the bustle of the harbor, and out onto the open water, the best part is cutting the motor and hoisting sail. With no engine noise, all you can hear is the sounds of the waves lapping against the hull. You’re surrounded by clear blue water and silence. It’s at this moment that all the stress melts away.” Whilst a challenge, buying a boat in Japan isn’t expensive as it might seem, Jeremy tells us. “After all, the camera that took all these photos is worth more than my boat!”

“On one of those perfect days where the wind and temperature were just right, the water was sparkling and the sound of the water was soothing. Suddenly my friend called out “Dolphins!” and I turned to see three dolphins swimming along the boat with us.”

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Camelot International School Camelot International School empowers its students to pursue their interests with dedication and compassion. Its dynamic teaching staff created a vibrant, inclusive, and nurturing environment where all students can succeed. Primary students follow the Cambridge Primary Programme, middle school students follow the Cambridge Lower Secondary, and high school students study IGCSE subjects. New 11th graders will be accepted in 2020, and the school will begin offering a GCE A-Level program in 2021. Camelot believes that students living in Japan should have the opportunity to explore the country and its language. Therefore, all students have the chance to study Japanese, following the Japanese curriculum and national standards. Grades: 1–10 (UK system) 3-10-34 Mukaihara, Itabashi-ku www.camelot.tokyo.jp

03-5948-3993

Gymboree Play & Music Gymboree Play & Music has been fostering creativity and confidence in children aged zero to six for more than 40 years. Today it has more than 700 locations in more than 40 countries, making it the global leader in early childhood development programs. Designed by experts in both education and play, its age-appropriate activities help develop the cognitive, physical and social skills of children as they play. Gymboree Play & Music offers “mommy and me” classes (0–5 years), a five-hour preschool (1.5–4 years), and a three-hour after-school program (3–6 years), all of which help children develop the skills they need to succeed in today’s global society. Grades: 0–6 years Jiyugaoka Campus: Feel Building 2F, 1-5-1 Jiyugaoka, Meguro-ku ¡ 03-3723-0651 Motoazabu Campus: Motoazabu Crest Bldg. 1F, 2-3-30 Motoazabu, Minato-ku ¡ 03-5449-2311 www.gymboglobal.jp/en

Lorem ipsum dolor sit amet, consectetur Lorem ipsum dolor sit amet, consectetur adipiscing elit. Curabitur nibh augue, adipiscing elit. Curabitur nibh augue, interdum eu ultricies vitae, blandit a est. interdum eu ultricies vitae, blandit a est. Interdum et malesuada fames ac ante Interdum et malesuada fames ac ante ipsum primis in faucibus. Nam sed enim ipsum primis in faucibus. Nam sed enim vel nisl dignissim egestas. Curabitur vel nisl dignissim egestas. Curabitur mollis lectus sodales tortor sodales, sit mollis lectus sodales tortor sodales, sit amet elementum odio cursus. Aenean amet elementum odio cursus. Aenean eget faucibus urna. Pellentesque finibus eget faucibus urna. Pellentesque finibus orci ut leo placerat, a rutrum mi mattis. orci ut leo placerat, a rutrum mi mattis. Nishimachi Phasellus in tincidunt neque. Vivamus Phasellus in tincidunt neque. Vivamus International School id lacus quis nisl eleifend pretium vitae id lacus quis nisl eleifend pretium vitae venenatis turpis. Morbi neque ipsum, venenatis turpis. Morbi neque ipsum, iaculis ut aliquam sit amet, feugiat vitae iaculis ut aliquam sit amet, feugiat vitae Conveniently located in central Tokyo, Nishimachi International School eros. Nunc auctor arcu nisi, et ultricies eros. Nunc auctor arcu nisi, et ultricies offers a co-educational learning experience in English for students nulla vestibulum eget. Duis tincidunt nulla vestibulum eget. Duis tincidunt from kindergarten to ninth grade. Some of Nishimachi International posuere quam non aliquam. Suspendisse posuere quam non aliquam. Suspendisse School’s hallmarks are its rigorous academic curriculum, strong emphasis blandit mollis quam, id scelerisque ex blandit mollis quam, id scelerisque ex on Japanese language education, small and intimate community, and dictum quis. Pellentesque mattis feugiat dictum quis. Pellentesque mattis feugiat multicultural approach to learning. The school specializes on educating ante a hendrerit. Donec viverra arcu id ante a hendrerit. Donec viverra arcu id all of its students to be internationally minded and independent thinkers, lacus dapibus commodo. Lorem ipsum lacus dapibus commodo. Lorem ipsum and its graduates are known for thinking flexibly and resourcefully, valuing dolor sit amet, consectetur adipiscing dolor sit amet, consectetur adipiscing difference and showing compassion, and taking action as they bring value elit. Curabitur nibh augue, interdum eu elit. Curabitur nibh augue, interdum eu to others and make a genuine difference to the world. ultricies vitae, blandit a est. Interdum ultricies vitae, blandit a est. Interdum et malesuada fames ac ante ipsum et malesuada fames ac ante ipsum Grades: K–9 primis¡ in03-3451-5520 faucibus. Nam sed enim vel primis in faucibus. Nam sed enim 2-14-7vel Moto-Azabu, Minato-ku www.nishimachi.ac.jp nisl dignissim egestas. Curabitur mollis nisl dignissim egestas. Curabitur mollis lectus Pellentesque finibus orci ut leo lectus Pellentesque finibus orci ut leo placeratNum et et est, consequi voluptis placeratOmnihil event occupti ut dolut aut eicab idici incia delent. optisci re latur sitatiur aut omnima Ed magnihillore proriam simpost vid et dolupti voluptat. ium laceptati cum ea es et quamusapid Ur? Nem nis nem et magnis earcips Poppins Active Learning esed ut officiet as sam qui vent que adi amusam quatibus eles volor andions International School quam rest liquam, con esequi blabo. equam, omnia dolla es molorep errorro Nam qui blat odis nost, od qui audigene blani reptur? cum dolut que doloris idus aut enit, Am sinimilit Ut as maximporion Poppins Active Learningfuga. International School (PALIS), set in the beautiful corepti pores invenim agnihillatum aut eum et environment of Yebisu Garden Place, takes care of children rangingcon in age from repe velibusa volo eatur, adipsandam fugia et ma volupie eosanto teoffers pliberu ptatem aut 11 monthsque to sixis years. PALIS unique lessons based on a Britishalis curriculum nessunt est, si isqui con et lita consequo anias esto Programme. cus essin repeditius, through its Specialist It also offersquae after-school ballet classes hosted eatem et optatiatur aliqui quia iur? res etSCHOOL, arum re which diatewas lam am fugit aut famous dancer by K-BALLET founded by world Tetsuya Qui ulparis dit earum quis dita nimus omnis autaseventiis volutmusic, venda nobit,and more. In addition, Kumakawa, as well yoga, dance, robotics, its duntibu sdanihitae volo moluptis dolore, ut seasonal eliqui dolorpor dendit fun-packed programsacepellati and Saturday schoolutare open to everyone. PALIS blam rem. Me porercim lit, eos laborro tet children’s ariam incient facepelit paas they become quo focuses on cultivating skills and character global citizens. autemquiUgit is esectotatem rate illest veriaOvit et eium quatet quassint ut et Grades: 11labo. months–6 years optatquature num as as soluptaque Nequatem restis et mil eum que Yebisu Garden Terrace aut Nibankan 4-20-2 Ebisu, Shibuya-ku ¡ 03-5791-2105 optatust, volectius pe nestem utem facea praeptam resto1F,cullaut re verrorrum, www.poppins-palis.jp/en nimus, que nus aliquid uciist, omni test, officaest iur? sum, estrum que velitam dolorep elibus Rum non provide bitatem dolupta es aut ex estia nonsequ ibusda ex et quidero offic tem aut reri reprate fugitias accus. modisto repernatis ut vid quo blandi cum Alit, odia solecus aut prepudam dolumqu qui cus del et apic temquia doluptatur? iaeprat magnatem aut ipiet magnatur Temoluptur at voluptis doluptati de Summerhill atis nos utaspic tem quatquiatque la officto di arum autem. Nam venet et ex International School si omnitae conse est aditior moditatur exercid moluptaessi blandit illautet venti sinvell upient vendit aces vid unt odi aut ullandita aut ratia sapedisquam fugia sanditinusam fugitatPrimary Years ad eatiate optia perferore veligenis Summerhill Internationalvelestium School is an International Baccalaureate ipsunt endaecus vent. and activities for children as de doluptasped quo volent quatet est (PYP) School Programme that also offers classes Gittimes eaqui ellabor repedi omni nos pelluptur seque eosas 15 months. Class young arenimil from 9:00 a.m. umquuntincid to 2:00 p.m., and an extended molendistia nobitat uriam, etur,for children escia quunt aut esto tetur? Suntendi program ne that starts at 8:00 a.m. and runs until 5:00 p.m.corum is available imodit faceatem laccus enimus est eosam simodig nihitis whose parents both work. The infant classes experum (15 monthsquaeste to three years old) follow molores ediatiore, quatur sim restem quae odiatis vollatin non con aprae num Reggio Emilia–inspired curriculum, and expat children learn Japanese from aut who que delivers proriteclasses non conseque quis eos accum etum faccullam quam PYP Japaneselaut a certified teacher that enhance and build laboraturem faceaquunt eicitem fugit net, ullation repedi sum quatint otatusskills. Applications bilingual are now being accepted for 2019–20 enrollment. Grades: 15 months–6 years 2-13-8 Moto-Azabu, Minato-ku www.summerhill.jp

03-3453-0811

Where learners’ learners unique uniquequalities qualitiesare are valued and nurtured At AOBA JAPAN INTERNATIONAL SCHOOL we’re dedicated to developing global-minded students inspired to learn, take risks, and lead change in the world.

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ING FACILITIES

AFTER-SSCCHHO AW ESO ME OOO GRAMS LL PRO

Join us for a School tour! school Tour!

Lorem ipsum on To book a tour, or for more information applications, please visit our website:

www.aobajapan.jp

Hikarigaoka Campus: 7-5-1 Hikarigaoka, Nerima-ku, Tokyo 179-0072 Tel: +81-3-6904-3102

AL S

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Meguro Campus: 2-11-5 Aobadai, Meguro-ku, Tokyo 153-0042 Tel: +81-3-5428-4488

Welcome to Summerhill International School Where the children are really happy ● Five fun-filled preschool classes for children from 15 months to 6 years old ● Nurturing, high-quality environment ● Experienced and caring teachers ● Flexible and age-appropriate programs ● Attractive after-school activities ● Extended Day Program for working parents ● Bus available (subject to enough students enrolled for bus to run)

Summer: Jun 19–Jul 26 Winter: Dec 6–Dec 20 Spring: Mar 23–Mar 27 www.summerhill.jp

Join us !

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

PROPERTY PORTRAIT Victoria Court With superb access to Azabu-Juban, Hiroo and Shirokane Takanawa this three bedroom apartment is located on the third floor of this exclusive residential complex. Originally developed as a high-end residence by British Airways and built to western sizes, this particular property

for has recently been fully renovated. It now boasts wideplank wood flooring, highgrade fixtures and fittings, a well-equipped gourmet kitchen and select furnishings. The incredible living rooms enjoy vast space, light and views while remaining private thanks to a hilltop position and nearby greenery. Elsewhere, the master bedroom enjoys a very large walk-incloset and ensuite facilities, there are two further bedrooms

and an additional bathroom. Victoria Court boasts a private indoor pool, sauna, squash court, recreation room, bilingual concierge, trunk room and barbecue terrace. It is situated in Tokyo`s prime Minami-Azabu neighborhood, a popular expat area with a number of fine dining, boutique shopping, international schools and world class amenities all around.

SHEER BRILLIANCE No other school in Japan will be able to match what Jinseki International School has to oﬀer

When it opens next year, Jinseki International School will be the ﬁrst of its kind in Japan: a European-style boarding school for children in grades one to six. One of the things that makes the institution stand out is its broad network of advisors—headmasters and administrators from top schools around the world. One of the school’s senior advisors is Michael Rob Gray, who has been headmaster of the renowned Swiss boarding school, Institut Le Rosey, for 17 years. He is a thought leader in the ﬁeld of international education, with more than three decades of experience. We recently spoke with him about Jinseki International School’s stunning natural setting, the role that teachers play there, and what children can gain from a boarding school education.

What was the inspiration for opening Jinseki

out of their normal environment. It takes them

International School in Hiroshima Prefecture?

to somewhere they can feel safe, where they can

Traditionally, the best boarding schools have been

learn in different ways, and where they can not

a long way away from places. I think the reason

only learn about traditional aspects of Japanese

for that is you have the freedom to expand—

culture, but also about cultures across the world.

you have space, and space in places like Tokyo and Osaka is very difficult to come by. It’s in a

How will Jinseki International School’s network

beautiful place as well and I think that’s another

of advisors and mentors help to make it an

aspect of the best boarding schools. Jinseki is in

excellent institution?

a really remarkable area—it’s about 600 meters

I think that it shows the school has been put

above sea level, and you can look down and see

together with a lot of thought. It’s not somebody

the Inland Sea and the mountains coming out

saying, “Oh, let’s build a school.” It is that [founder]

of the ocean. I think that it takes the children

Minako Suematsu looked at schools in Switzerland,

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Morbi neque ipsum, venenatis turpis. Morbi neque ipsum, iaculis ut aliquam sit amet, feugiat vitae iaculis ut aliquam sit amet, feugiat vitae eros. Nunc auctor arcu nisi, et ultricies eros. Nunc auctor arcu nisi, et ultricies nulla vestibulum eget. Duis tincidunt nulla vestibulum eget. Duis tincidunt posuere quam non aliquam. Suspendisse posuere quam non aliquam. Suspendisse Michael Rob Gray, senior advisor at Jinseki International School blandit mollis quam, id scelerisque ex blandit mollis quam, id scelerisque ex dictum quis. Pellentesque mattis feugiat dictum quis. Pellentesque mattis feugiat ante a hendrerit. Donec viverra arcu id ante a hendrerit. Donec viverra arcu id lacus commodo. Loremthe ipsum dapibus ipsum you don’tdapibus go to mummy and daddy whole time butlacus she also lookedcommodo. at schools Lorem in the UK and she dolor sit amet, consectetur adipiscing dolor sit amet, consectetur adipiscing to solve it. That’s the autonomy side. 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Curabitur mollis sorts of ways—in their own ways. orci ut leo set lectus up formal links with finibus any school, I think lectus Pellentesque finibus Pellentesque orci but ut leo it’s placeratOmnihil to prepare children for going onut to dolut those placeratNum et et est, consequi voluptis event occupti aut eicab idici incia delent. optisci re latur sitatiur aut omnima other schools. Ed magnihillore proriam simpost vid et dolupti voluptat. ium laceptati cum ea es et quamusapid Ur? Nem nis nem et magnis earcips How would you describe thevolor role that educators esed ut officiet as sam qui vent que adi amusam quatibus eles andions quam rest liquam, con esequi blabo. omnia International dolla es molorep errorro willequam, play at Jinseki School? Nam qui blat odis nost, od qui audigene blani reptur? Family is almost too strong a word. I suppose it is cum dolut que doloris idus aut enit, Am sinimilit fuga. 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Suntendi ne imodit faceatem experum quaeste laccus enimus est eosam simodig nihitis molores ediatiore, quae odiatis vollatin non con prae num Jinseki International School will open in April quatur 2020. sim restem laut aut que prorite non conseque quis eos accum etum faccullam quam For more information about the school or to arrange a visit, go to jinsekikogen.co.jp/en laboraturem faceaquunt eicitem fugit net, ullation repedi sum quatint otatus

PHOTOS: Alfie Goodrich

BUILT FOR SPEED, ENGINEERED FOR SUCCESS Adam German and the Housing Japan team join professional racing-driver João Paulo de Oliveira at Fuji Speedway, to lift the lid on what a “typical day at the office” is like for the Brazilian-born Super GT driver.

“Like most Brazilian boys my age, I got the racing bug when I was younger watching Ayrton Senna as a kid. But it was my brother who had the largest influence.” of the cars, for overseas manufacturers the Series has always represented far less of a solid return on investment.

JP’s brother was an aspiring racer getting his feet wet kart racing in Sao Paulo, where their family hails from. “I was giving him advice constantly and finally had a chance to get behind the wheel and see what I could do myself. After that, I was hooked and have never looked back.”

“In any race, the car is an extension of your body but even more so at these speeds.” JP tells us. “It is important for drivers to maintain peak physical fitness as the car is literally built around your body. And every little bit of weight counts. Even the seats are fitted to your comfort level so any large variation in body weight is going to have a negative influence on the car and the driver.”

JP started kart racing himself in Brazil and slowly graduated upwards to larger cars with bigger engines. Before long, he’d built a record that attracted offers to race in Europe and then, after that, in Japan. That was 20 years ago.

JP also tells us the importance of concentration. “I spend a lot of my time in the off season cycling competitively, to keep my mind sharp.

“The difference between European and Japanese teams was something that took a little getting used to.” JP tells us. “Europe is more laid back whereas Japanese teams are more into meetings and stricter adherence to scheduling, things like that.”

A lot of the same elements of cycling are necessary when racing; split-second decision making at high speeds, the feel of the machine underneath you and how it’s engaging with the road, how nature effects the ride and so on.”

JP first started racing in Japan in 2004, in Formula 3, taking his first of seven titles in 2005. After that he was offered the opportunity to race as a works driver for Nissan, in the Super GT series.

One lapse in concentration can send you crashing into the barriers. A fate that’s befallen many a seasoned pro.

“Seeing as how I was in Japan already, Super GT was very appealing and represented a massive opportunity.”

While racing in the 2016 Fuji 500, JP was leading the pack with only four laps remaining when his car suffered a tyre blowout that ended his race.

To the uninitiated, Super GT is Japan’s top-level racing series and is split into two different classes; GT500 and GT300. The former being in fact the World’s highlest class of sportscar racing, with cars clocking speeds only a few seconds below that of F1.

“It’s tough when you retire as a result of a failure. You have to learn from it but not let it effect your confidence that you can take the same turn again better. Mentally, it is a very tough line to walk, especially at the upper levels of competition.”

While foreign automakers are of course eligible to enter, the series has traditionally been the reserve of Japan’s top marques; Nissan, Toyota and Honda.

Indeed, maintaining focus after a disappointment is one of the most valuable abilities a racer can have. As Super GT World reported after the incident, “The lasting image of this race will be the sight of Olivera lying supine

GT500 is after all a Japan-only racing series and given the development costs

on the tyre barriers in disbelief after a catastrophic tyre failure with four laps to go ended [his] team’s chances of victory.” “That ending was heartbreaking,” says JP. “It wasn’t like I made a mistake or anyone in the crew did, it was one of those freak events that happen now and again in racing. You have to get over it and move on, no matter what.” At the end of 2018, after 15 years of racing with Nissan, JP made the move over to D’Station Aston Martin. “It was all very fast.” JP says. “We had one meeting and then we were signing contracts.” To hear JP tell it, the end of 2018 and beginning of 2019 was a nail-biting finish. Right before Christmas, Nissan told JP they weren’t going to renew his contract. “The previous years were very tough for Nissan and there was a lot of pressure from upper management to change things around.” JP explains. “At the same time I was released, Nissan also released Satoshi Motoyama who’d been racing with the company for over 20 years.” With all the media attention focused on Motoyama’s departure, JP took it upon himself to announce on social media a fond farewell message with a promise to fans that he would update them once he found a new home. That began a month long hustle for JP to find a new team. “I went to Daytona, mainly to talk to different teams and do some networking but the day after I posted my announcement, people from D’Station Aston Martin contacted me to say ‘if you’re interested in talking to us, we’re interested in talking to you.” So, while running around talking to people in the industry, JP knew that when he came back to Japan he had a solid meeting waiting for him. “A lot of people thought I would leave Japan.” JP says. “My entire professional career was with Nissan so I was a little anxious about what the future would bring.” However, when JP met the D’Station team, things really clicked. “They are a great group of professionals who come together to make a great team. It is important for me to be part of a high-calibre team as I want to continue to perform at the highest level and to push myself.” JP says. “Over the years I’ve helped a lot in development for Nissan and have also done massive amounts of tyre development work with Yokohama (a Nissan racing partner) which was very satisfying at the time. “Now, it’s all about enjoying myself.” The week prior to the interview for this article, JP was in Germany racing for his new team. “It’s been a long while since I’ve had as concentrated a session of driving, in such a short period of time.” Near the end of our conversation, JP looks away towards the window and pauses for a moment. Then, still looking out the window, almost to himself more than in response to anything I’ve asked, says “There really has been an enormous amount of luck in my career. I’ve been fortunate enough to have people believe in me and support me along the way.” Listening to JP talk about his work ethic and ever-present positive outlook on life, I’m sure what he has going for him isn’t just luck. “Money isn’t everything. This change has been fresh and livened up my career I think. I very much look forward to see what the future brings” You can follow JP Oliveira on Twitter at: www.twitter.com/JPdeOliveira Or on Instagram at: www.instagram.com/jpdeoliveira/

TOKYO’S PREMIER MULTIDISCIPLINARY REHABILITATION CENTER • Assessments and treatments performed by a team of internationally trained, registered and experienced physiotherapists • Private treatment rooms

Club 360 specializes in physiotherapy, sports massage, personal training, and group fitness classes.

• Large, fully equipped rehabilitation gym • Central location—just a three-minute walk from Roppongi Hills • Consultations available in English and Japanese

✓ Sports injuries and rehabilitation ✓ Musculoskeletal and spinal conditions (neck and back pain) ✓ Ergonomic and postural assessments ✓ Gait assessments ✓ Covered by most international health insurers Address: B1 CMA3 Bldg. 3-1-35 Moto-Azabu, Minato-ku • Nearest station: Roppongi Open seven days a week: Mon–Fri 6:30am–9:00pm; Sat–Sun 7:00am–6:00pm • Tel: 03-6434-9667

www.club360.jp

PROPERTY PORTRAIT Shirokane House

This most impressive newly refurbished home is situated in this exclusive Shirokane complex that is enriched by sublime art spaces, a Japanese tea house and beautiful stone garden - as well as a striking light-filled interior design. The apartment is on the first floor, on the better southern side, and has complete privacy thanks to a garden backed with high walls. The

new renovation is to the highest of specifications, making more of the home`s proportions to create an astounding space for central Tokyo. The living / dining room especially benefits from this all new, natural wood finish which is then bathed in warm sunlight and surrounded by tranquil greenery thanks to the large windows and bifolding doors that lead into the garden area.

The kitchen has been fitted with high-end imported appliances and provides plenty of storage, while there is also in-built storage and display spaces throughout the wide open hallways. Shirokane House has a high-reputation in the market, with a number of famous buyers seeking it out for its exclusive location, access to elite private schools and impressive environment.

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PROPERTY PORTRAIT Tsudoi, Niseko. Tsudoi is a stunning, three-floor luxury chalet located in the Elevation estate of the Niseko ski resort area. Niseko, which is located two and a half hours away from Chitose Airport, is home to four main resorts—Niseko Hirafu, Niseko Village, Niseko Annupuri, and Niseko Hanazono—and is celebrated for the quality of its light powder snow and its impressive backcountry

routes. The region is also home to plenty of stylish après-ski activities that appeal both to the younger set and to families with children. The spacious, 795-sqm property features an inhouse gym, an elevator, a two-car garage and a heated driveway, a total of 185 sqm of balcony space, ensuited bedrooms, and multiple entertainment areas. From the top floor of the chalet, there are gorgeous views of the Niseko resorts and the photogenic Mt.

Yotei, which is known as the “Mt. Fuji of Hokkaido.” Meanwhile, lovers of Japanese culture will be pleased to find a Japanese-style bedroom and a Japanese bath at the chalet. With its wide array of features and amenities, Tsudoi is absolutely perfect for a large group or family. If you’re interested in building a dream property like this for yourself, contact: westcanada@housingjapan. com

RUGBY WORLD CUP

IN JAPAN FOR THE EXPERIENCE OF A LIFETIME

This photo: Derek Makishima.

“Japan until now hasn’t been considered a typical rugby nation like you’d find in Europe or the South Pacific but this year is set to change all of that.” David MacCallum, STH Japan

TOP: A rugby football match in Yokohama, 1874. BELOW: Hong Kong vs Kenya, Marseiiles, Nov.2017

While most of the discussion in sports centers around the 2020 Olympics, 2019 boasts a first for Japan with the Rugby World Cup; the world’s third largest sporting event after the Olympics and FIFA World Cup. Rugby in Japan has always had a hardcore following of players and sponsors alike however it has never been anything compared to the level of European rugby. World Rugby is promoting aggressively in Asia though and Japan hosting this year’s Rugby World Cup will no doubt move the dial in a positive way for the visibility of the sport moving forward. “Hospitality sales are in a really healthy position” says David MacCallum, Commercial Director Asia of STH Japan, exclusive sports hospitality provider for the World Cup. “Our prestigious Webb Ellis suites are completely sold out for the seven matches being hosted at the International Stadium Yokohama. This World Cup is on track to be the largest event undertaken in terms of hospitality customer orders with several months left before the tournament begins. We have created products unique to this market that are tailored to suit different requirements. The good news is that there are still options available to attend the biggest matches.” Indeed, according to the Rugby World Cup official website, based on current ticket price data, 600,000 out of the 1.8 million tickets available are held by international fans with the remaining being held by Japanese fans. The international make up includes fans from traditional rugby nations such as England, Australia and Ireland but the sixth largest group is from the US and after that the Netherlands; countries where Rugby is growing rapidly over the last years in popularity. Japan Rugby 2019 Organizing Committee CEO Akira Shimazu comments: “From the very beginning, we set out to make Rugby World Cup 2019 a truly ground- breaking tournament, so to have such strong interest from fans in rugby’s frontier markets like the USA and the Netherlands, as well as countries like Germany, Spain and Brazil is absolutely wonderful.” Traditionally, rugby has struggled to thrive outside of the heartlands of England and her former colonies along with France. Research done by governing body World Rugby tells the tale that Asia had more estimated fans than any other continent with China and India together boasting an estimated 57million just between the two countries. However, registered players in Asia are relatively low; former British colonies like Malaysia, India and Sri Lanka dominate along with other financial hubs like Singapore and Hong Kong with significant expat populations. Thus 2019’s World Cup in Japan, hosted on Asian soil for the first time in history, marks an opportunity to showcase the glory and sportsmanship of the sport on a scale never before seen on the continent. It is fitting that Japan hosts the first World Cup on the continent as the national team, the Brave Blossoms (formerly the Cherry Blossoms) currently rank number 11 globally behind Argentina and ahead of Georgia. The formation of a national team and Japan’s first international match took place in 1932 against a touring Canadian side where Japan won two matches; one in Yokohama and another in Tokyo with the second match being a resounding success for the Japanese downing the Canadians 38-5. Japan has since gone on to win 23 Asia Rugby Championship titles since 1969 basically establishing the nation’s dominance in the region. That said, there is still more work to be done to further enhance the sport’s popularity domestically, a challenge that this year’s World Cup is expected to overcome. “It is great to see the Japanese market responding so well to the tournament and the introduction of sports hospitality,” says David MacCallum. “Japan as host isn’t currently ranking in the World top 8 but hopefully this year will see them exceed expectations and reach the Quarter Finals by embracing the ever powerful home ground advantage.”

PHOTOGRAPHY LESSONS IN TOKYO British commercial photographer, photography teacher and Hasselblad Ambassador, Alfie Goodrich, has been living full-time in Japan since 2007. Since settling here, he’s built up a broad range of clients in the automotive, travel, fashion, event and music genres. His recent work for Japanese music legends, the 100 million album-selling band Mr. Children, drew wide praise. After shooting with him in Myanmar in

2018, Alfie is again working on a new project with Japanese movie director, Daishi Matsunaga, this time in Mexico & Japan. As well as shooting for his disparate collection of commercial clients, Alfie lectures, mentors and teaches photography in Tokyo and across Japan. “Teaching photography, whether it be to pros or beginners, is really my passion,” says Alfie.

“Nothing keeps one’s feet on the ground as a creative professional than having contact with the enthusiasts. It keeps my skills sharp, my eyes fresh and as a people person it’s a wonderful way of meeting people.” To find out more about Alfie’s lessons, workshops and of course his photography, visit him online at: www.japanorama.co.uk

HERE & LEFT: A selection of recent fashion, travel & editorial photography by Alfie Goodrich.

NATUR & NICOLAI BERGMANN: THE VALUE OF JEWELLERY IS IN ITS EMOTIONAL CONNECTION

PHOTOS: Alfie Goodrich & Nicolai Bergmann K.K.

In Japan, just as elsewhere in the world, jewellery that is given as a gift or selected for one’s personal use comes with deeper meaning. It doesn’t matter what it is, but there is almost always a sentimental or emotional reason why you choose a particular piece. Speaking with renowned flower artist Nicolai Bergmann about his Jewellery brand NATUR & NICOLAI BERGMANN, and you see that adding personal

emotion is something that begins at the design stage. ”Working with flowers all my life has made me appreciate the cycle of nature. Things are born, they live beautiful lives, and then they pass. From there, something else is born, and the cycle starts again.” “When working with flowers, it is something that is incredibly motivating for me as an artist. But of course, there are of times when we all want to create something that lives on

beyond us. Something that can capture an emotion, and help it live forever.” This then, was the motivation for creating his own jewellery brand and expanding beyond being a florist. “Absolutely, but the natural world remains vitally important to who I am. I carry the same motifs, the same beautiful imagery from nature over to jewellery, where I hope to capture it in away that will last.”

NATUR brand is also able to present these pieces together with the incredible flower arrangements from Nicolai Bergmann Flowers & Design, making for striking and unique combinations. Elsewhere, Nicolai has expanded his work into confectionary, working with a Danish partner to bring fully organic chocolate to Tokyo. As with his other work it is presented not without a unique touch and retains a love and

respect for nature. Known as Summerbird ORGANIC, each piece is made with the same level of culinary excellence while using 100 percent natural ingredients. You can see for yourself, by visiting the store and enjoying one of the many varieties on offer, in beautiful surroundings that offer views into the kitchens in which the chefs are at work creating. The brand`s signature work is the Cream Kiss - a baked marzipan base topped with meringue that has a marshmallow-like quality,

which is covered with delicate chocolate. Choosing a Cream Kiss, much like when we choose jewellery, is a decision made from emotion and experience. You can visit the stores at: 5-5-20 Minami-Aoyama, Minato-ku, Tokyo. Summerbird ORGANIC: www.summerbird.jp NATUR & NICOLAI BERGMANN: www.naturjewelry.co.jp

3 RESTAURANTS

RUBY JACK’S Steakhouse & Bar Carnivores, rejoice. Ruby Jack’s Steakhouse & Bar offers a classic steakhouse experience with a contemporary twist. From the Char-Grilled Japanese Beef Tongue and Wagyu Tartare to a wide selection of in-house dry aged beef, there’s something for every meat lover. Other favorites include Ruby’s Caesar Salad and the broad range of oysters, which are shucked fresh from the water tank. Ruby Jack’s extensive wine list includes plenty of big reds to go along with the great steaks, and among the many cocktails on offer, there’s something to please every palate. The warm, modern, and sophisticated decor instantly puts guests at ease, and the restaurant is also known for its family-friendly weekend brunches. 2F Ark Hills South Tower, 1-4-5 Roppongi, Minato-ku rubyjacks.jp/en

YOU DON’T WANT TO MISS Lorem ipsum dolor sit amet, consectetur Lorem ipsum dolor sit amet, consectetur adipiscing elit. Curabitur nibh augue, adipiscing elit. Curabitur nibh augue, interdum eu ultricies vitae, blandit a est. interdum eu ultricies vitae, blandit a est. Interdum et malesuada fames ac ante Interdum et malesuada fames ac ante ipsum primis in faucibus. Nam sed enim ipsum primis in faucibus. Nam sed enim vel nisl dignissim egestas. Curabitur vel nisl dignissim egestas. Curabitur mollis lectus sodales tortor sodales, sit mollis lectus sodales tortor sodales, sit amet elementum odio cursus. Aenean amet elementum odio cursus. Aenean eget faucibus urna. Pellentesque finibus eget faucibus urna. Pellentesque finibus orci ut leo placerat, a rutrum mi mattis. orci ut leo placerat, a rutrum mi mattis. TWO Phasellus ROOMSin GRILL | BAR Phasellus in tincidunt neque. Vivamus tincidunt neque. Vivamus id lacus quis nisl eleifend pretium vitae id lacus quis nisl eleifend pretium vitae Located just a short walk from Omotesando Station, Two Rooms Grillvenenatis | Bar turpis. Morbi neque ipsum, venenatis turpis. Morbi neque ipsum, is known for the simple elegance of its dishes, which bring out theiaculis best ut aliquam sit amet, feugiat vitae iaculis ut aliquam sit amet, feugiat vitae of their top-quality ingredients: fresh local seafood, premium beef,eros. and Nunc auctor arcu nisi, et ultricies eros. Nunc auctor arcu nisi, et ultricies seasonal Japanese vegetables. Particular standouts include the Teppan nulla vestibulum eget. Duis tincidunt nulla vestibulum eget. Duis tincidunt Grilled Sanriku Scallops with EVOO-Whipped Avocados and Baconposuere Dust quam non aliquam. Suspendisse posuere quam non aliquam. Suspendisse and the Crabbe Cake Donuts. 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Interdum 5F AO Building, 3-11-7 Kita-Aoyama, Minato-ku et malesuada fames ac ante ipsum et malesuada fames ac ante ipsum tworooms.jp/en primis in faucibus. Nam sed enim vel primis in faucibus. Nam sed enim vel nisl dignissim egestas. Curabitur mollis nisl dignissim egestas. Curabitur mollis lectus Pellentesque finibus orci ut leo lectus Pellentesque finibus orci ut leo placeratNum et et est, consequi voluptis placeratOmnihil event occupti ut dolut aut eicab idici incia delent. optisci re latur sitatiur aut omnima Ed magnihillore proriam simpost vid et dolupti voluptat. ium laceptati cum ea es et quamusapid Ur? Nem nis nem et magnis earcips esed ut officiet as sam qui vent que adi amusam quatibus eles volor andions quam rest liquam, con esequi blabo. equam, omnia dolla es molorep errorro Nam qui blat odis nost, od qui audigene blani reptur? cum dolut que doloris idus aut enit, Am sinimilit fuga. Ut as maximporion con corepti repe velibusa volo eatur, pores invenim agnihillatum aut eum et alis adipsandam fugia et ma volupie que is eosanto te pliberu ptatem aut nessunt est, si isqui con et lita consequo anias esto cus essin repeditius, quae eatem et optatiatur aliqui quia iur? res et arum re diate lam am fugit aut Qui ulparis dit earum quis dita nimus omnis aut eventiis volut venda nobit, duntibu sdanihitae volo moluptis dolore, ut eliqui dolorpor acepellati dendit ut quo blam rem. Me porercim lit, eos laborro tet ariam incient facepelit pa autemquiUgit is esectotatem rate illest veriaOvit et eium quatet quassint ut et optatquature num as as soluptaque labo. Nequatem restis et mil eum que optatust, volectius pe nestem utem facea praeptam aut resto cullaut re verrorrum, nimus, que nus aliquid uciist, omni test, officaest iur? sum, estrum que velitam dolorep elibus Rum non provide bitatem dolupta es aut ex estia nonsequ ibusda ex et quidero offic tem aut reri reprate fugitias accus. modisto repernatis ut vid quo blandi cum Alit, odia solecus aut prepudam dolumqu qui cus del et apic temquia doluptatur? iaeprat magnatem aut ipiet magnatur Temoluptur at voluptis doluptati de SEPTIÈME Brasserie & Nam Bar venet et ex atis nos utaspic tem quatquiatque la officto di arum autem. si omnitae conse est aditior moditatur exercid moluptaessi blandit illautet venti Septièmeodi Brasserie & Bar manages to sapedisquam combine the sophistication sinvell upient vendit aces vid unt aut ullandita aut ratia of a modern Paris brasserie with the refined beauty of Japan, while velestium fugia sanditinusam fugitat ad eatiate optia perferore veligenis maintaining a casual ambience where guests ipsunt endaecus vent. de doluptasped quo volent quatetwill estfeel right at home. All of the Frenchomni favorites that you’d expect—including Escargots Git eaqui nimil ellabor umquuntincid repedi nos pelluptur seque eos Bourguignon, d’Oignon Gratinée, Duck Confit—focus on molendistia the nobitat uriam, corum etur, esciaSoupe quunt aut esto tetur? and Suntendi ne flavor of laccus seasonal ingredients, bringing new depth to these classic dishes. imodit faceatem experum quaeste enimus est eosam simodig nihitis The restaurant is designed to be non the perfect place to drop in for any molores ediatiore, quatur sim restem quae odiatis vollatin con prae num occasion:quis lunch, afternoon tea, dinner, weekend brunch, or cocktails. Its aut que prorite non conseque laut eos accum etum faccullam quam convenient makes it ansum idealquatint destination for families, tourists, laboraturem faceaquunt eicitem fugit net,location ullation repedi otatus businesspeople with offices nearby, or shoppers at Takashimaya. 7F Annex Nihombashi Takashimaya S.C., 2-5-2 Nihombashi, Chuo-ku septieme.jp/en

COVER SHOT The cover shot for this issue of the Housing Japan

Magazine represents the coming together of several great talents. We extend a warm thank you to all involved. PHOTOS: Alfie Goodrich

The Look The kimono is a beautiful part of Japan’s culture and seeing one brightens almost any scene. It`s ability to continually inspire people is unmatched, as is its ability to be re-imagined for contemporary tastes while staying true to tradition. When we were deciding on the look and feel of this issue of the Housing Japan magazine, we knew we had an amazing location in which to photograph. But shooting indoors and getting across the beauty of Japan creates a challenge. Thus, we looked to the kimono. In choosing a brand to work with, we wanted something modern. Something which would definitely speak of today’s Tokyo. Kapuki, based in Naka-Meguro, was the perfect fit. A boutique, offering contemporary hand-made kimonos as fashion for today, while still preserving clothing traditions that stretch back to the Edo-era. As Kapuki point out, it was only with the westernization of Japan that the Kimono became a conservative piece. Prior to that, there were a rich variety of styles and tastes for which

a kimono was made. Kapuki was the brand we worked with for the cover shoot of this year’s Housing Japan magazine. Located along the Meguro River, in one of the trendiest parts of Tokyo, the boutique sells an incredibly rich array of original products created both in-house (pre-made as well as made-to-order) and through collaborations with craftsmen from across Japan. For more information, visit them in Naka-Meguro at 1-25-3 Aobadai, NakaMeguro, Meguro-Ku, Tokyo. Or visit online at: www.kapuki.jp The Location It’s exciting to go out photo shooting in Tokyo. There are just so many possibilities for creating beautiful looking images. Before settling on the Nicolai Bergmann store, just behind Omotesando, we had looked at a number of possible locations. But it

was obvious that this was the right place. It makes such a strong impression when you enter. Find the right model, and you have everything you need - color, contrast, composition, warmth and beauty. Visit Nicolai Bergmann Omotesando Flagship store at 5-7-2 Minami-Aoyama, Minato-Ku, Tokyo. The Model A special thanks should also be made to Bellona Models for all their assistance in arranging the model for the cover shoot - Nonoka. We extend to them our sincere gratitude for arranging everything and supporting us in achieving such a lovely result.

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AN INTRODUCTION TO JAPANESE WHISKY Japanese whisky has never been more popular. Over the last 10 years global interest in Japanese whisky has grown rapidly. The world is discovering another one of Japan’s well-kept secrets; the exceptional quality and diversity of the local drop. As Japan’s whisky industry has matured, international recognition of Japanese whisky, an increasing pool of distillers, blenders and enthusiasts have combined to create a surging and vibrant culture. While whisky has existed in Japan in blended or roughly crafted versions from the time Japan ended its isolation in the 1850`s, the exciting story of whisky in the country begins some years later with two key individuals - Shinjiro Torii and Masataka Taketsuru. Shinkuro Torii was a pharmaceutical wholesaler and importer of western liquor. He developed a simple mission to make a quality Japanese whisky for Japanese people and his company Kotobukiya (which would later become Suntory) built the Yamazaki distillery near Kyoto in 1924. He enlisted the help of the now legendary Masataka

Taketsuru, who is often referred to affectionately as the father of Japanese whisky. Taketsuru was a young chemist and businessman who had been apprenticed to a number of distillers in Scotland from 1918, after graduating from Glasgow University. He returned with his Scottish wife to Japan, with a meticulous understanding of whisky making, and a clear vision of what a Japanese whisky could be. By 1929 these two men had produced and were selling the first quality Japanese whisky - the Shirofuda or white label. It is a brand that is still available to this day. In 1934 Taketsuru launched his own venture. Looking to better duplicate the climate and terrain of the highland distilleries of Scotland, and with the intention of creating a peatier Scottish style whisky, he founded the Yoichi

distillery in the alpine area of Hokkaido. This company would eventually become the second big player in Japanese whisky, Nikka. During the late 1960s and 1970s new distilleries opened and new players entered the market. In 1969 Kirin opened the Fuji Gotemba distillery in Shizuoka. In 1972 Nikka opened Miyagikyo (formerly Sendai) distillery near Sendai city. In 1972 and 1973 respectively Suntory opened the Chita and Hakushu distilleries. Others would follow. It was during this time that Hibiki brand would emerge as a favorite choice amongst drinkers in Japan. This now impossibly popular whisky first appeared to celebrate the 90th anniversary of the Suntory Company and has since become a darling of whisky lovers around the world. In 2001 Nikka`s Yoichi “10 yr. old Single malt” won “Best of the Best” at the International Whisky Magazine awards. In subsequent years other brands and distilleries across Japan achieved similar success on the international stage, especially the Yamazaki single malt and Hibiki aged whiskies. The new century has also seen Japanese distilleries adopt many of the global trends in Coffey distilled, grain and barrel finished whiskies. Japanese distilleries have produced their own version of these variations with stunning success. While the origin of Japanese whisky was certainly a deliberate attempt to re-create a Scottish style whisky in Japan, for the Japanese drinker, Japanese whisky has over time developed its own unique character.

Unlike whisky production in Scotland, Japanese whisky makers have a different model for producing their blended brands. The big distilleries, most notably Suntory and Nikka, produce all their blended whisky brands from their own single malt stocks, without trading single malts with other companies. To allow for this practice they have adopted a variety of stills and distilling processes to provide the full range of flavor profiles they need to produce a fine blend. As a result, the industry has evolved and matured to produce complex but subtle single malts and blends. While much of Japan’s blended whisky is still consumed in drinks with mixers, Japanese whisky has become so much more than the proverbial “Highball” (whisky and soda). Unfortunately for many, their only experience with whisky is with lower quality spirits. Some people form a view about whisky based on these early experiences and without informed intervention, some may never discover the richness of Japanese whisky.

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