Architektur Nach 2011

Total Page:16

File Type:pdf, Size:1020Kb

Architektur Nach 2011 DISSERTATIONEN DER LMU 36 INGRID ELISABETH MACKENSEN Architektur nach 2011 Räumliche Entwicklungen im Katastrophengebiet Tohoku Architektur nach 2011 Räumliche Entwicklungen im Katastrophengebiet Tohoku von Ingrid Elisabeth Mackensen Herausgegeben von der Universitätsbibliothek der Ludwig-Maximilians-Universität Geschwister-Scholl-Platz 1 80539 München Mit Open Publishing LMU unterstützt die Universitätsbibliothek der Ludwig-Maximilians-Universität München alle Wissenschaft ler innen und Wissenschaftler der LMU dabei, ihre Forschungsergebnisse parallel gedruckt und digital zu veröfentlichen. Text © Ingrid Elisabeth Mackensen 2019 Erstveröfentlichung 2020 Zugleich Dissertation der LMU München 2019 Bibliografsche Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografe; detaillierte bibliografsche Daten sind im Internet abrufbar über http://dnb.dnb.de Herstellung über: readbox unipress in der readbox publishing GmbH Rheinische Str. 171 44147 Dortmund http://unipress.readbox.net Open-Access-Version dieser Publikation verfügbar unter: http://nbn-resolving.de/urn:nbn:de:bvb:19-252000 978-3-95925-140-2 (Druckausgabe) 978-3-95925-141-9 (elektronische Version) Inhaltsverzeichnis Einleitung ............................................................................................................... 1 1 Wiederaufbau des Katastrophen gebietes Tohoku ........................... 7 1.1 Katastrophe vom 11. März 2011 ............................................................ 7 1.1.1 Raum Tohoku .............................................................................. 10 1.1.2 Ausmaß der Zerstörung.............................................................. 12 1.1.2.1 Erdbeben ..................................................................... 12 1.1.2.2 Tsunami ........................................................................ 15 1.1.2.3 Nuklearer Unfall ......................................................... 18 1.2 Katastrophe als soziales Konstrukt ...................................................... 22 1.2.1 Vulnerabilität ............................................................................... 23 1.2.2 „Katastrophe“ – Defnitionsansätze .......................................... 29 1.2.3 Resilienz ........................................................................................ 34 1.2.3.1 Community resilience ................................................ 36 1.2.3.2 Sozialkapital ................................................................ 37 1.2.3.3 Sozialkapital im Wiederaufbau .................................. 40 1.2.4 Zusammenfassung ...................................................................... 45 1.3 Staatlicher Wiederaufbau...................................................................... 47 1.3.1 Strukturen des Wiederaufbaus .................................................. 47 1.3.1.1 Reconstruction Design Council Bericht ................... 47 1.3.1.2 Legislatives und administratives Gerüst .................. 52 1.3.2 Räumliche Widersprüche – Kritik .............................................. 60 1.3.2.1 Mangelnde Koordination zwischen verschiedenen Entscheidungsträgern ..................... 62 1.3.2.2 Tsunami-Schutzwälle ................................................. 64 1.3.2.3 Paradox des Wiederaufbaus ...................................... 70 1.3.2.4 Landnutzungsprobleme ............................................ 73 1.3.2.5 Mangelnde Verwirklichung lokaler Autonomie ...... 75 1.3.2.6 Fehlender Planungsprozess ...................................... 78 1.3.3 „System moderner Wiederaufbau“ ............................................ 79 1.3.3.1 Historische Einordnung ............................................. 79 1.3.3.1.1 Japanisches Katastrophenmanagement .................. 79 1.3.3.1.2 Sanriku-Tsunami .......................................................... 83 VI Inhaltsverzeichnis 1.3.3.2 „System moderner Wiederaufbau“ ........................... 86 1.3.3.3 Zusammenfassung ..................................................... 95 1.3.3.4 Temporäre Unterkünfte ............................................. 98 1.3.3.4.1 Diversifzierung temporärer Unterkünfte .............. 102 1.3.3.4.2 Haryu Wood Studio ................................................... 106 1.3.3.5 Zusammenfassung und Überleitung ..................... 110 2 Architektur und Gemeinschaft – alternative Ansätze für eine Wieder belebung des Katastrophengebietes Tohoku ........ 113 2.1 Architektur als Medium des Sozialen ................................................ 114 2.1.1 Architektursoziologischer Ansatz ............................................ 114 2.1.2 Soziologische Raumtheorie ..................................................... 115 2.1.2.1 Relationaler Raumbegrif bei Löw .......................... 116 2.1.2.2 Dialektische Raumerzeugung bei Lefebvre ........... 116 2.1.2.3 Sozialer und physischer Raum bei Bourdieu ......... 118 2.2 Internationale Entwicklungen im Bereich der sozial engagierten Architektur ..................................................................... 120 2.2.1 Humanitäre Architektur als ambivalentes Feld ...................... 121 2.2.2 Public interest design, SEED – praktische Ansätze ................ 124 2.2.3 Good design – theoretische Ansätze ...................................... 128 2.3 Architektur nach 2011 ......................................................................... 135 2.3.1 Ākitekucha, machizukuri und community design ................ 135 2.3.2 Zusammenfassung .................................................................... 149 2.3.3 Shigeru Ban und räumliche Verwaltung in Onagawa ........... 151 2.3.3.1 Pionier der humanitären Architektur ..................... 151 2.3.3.2 Wiederaufbauprojekte in Onagawa ....................... 156 2.3.3.3 Zusammenfassung ................................................... 165 2.3.4 ArchiAid – „bottom-up“ generierte Wiederaufbaupläne ...... 168 2.3.4.1 NPO ArchiAid ............................................................. 168 2.3.4.2 Kesennuma-Future-Project ..................................... 171 2.3.4.3 Ogatsu Studio ........................................................... 177 2.3.4.4 Oshika Hanto – Atelier Bow-Wow ........................... 184 2.3.4.4.1 ArchiAid auf Oshika Hanto ....................................... 184 2.3.4.4.2 Renovierungsprojekte .............................................. 188 2.3.4.4.3 Projekte von Atelier Bow-Wow ................................ 191 2.3.4.5 Shichigahama – Kumiko Inui ................................... 204 2.3.4.6 Zusammenfassung ................................................... 207 Inhaltsverzeichnis VII 2.3.5 Home-for-All – Gemeinschaftsräume und soziale Ästhetik .......................................................................... 210 2.3.5.1 Toyo Ito – Suche nach einem Neuanfang von Architektur ......................................................... 210 2.3.5.1.1 Pläne für Kamaishi – Überleitung............................ 210 2.3.5.1.2 Architekturpraxis Toyo Ito – Überblick ................... 219 2.3.5.1.3 Überwindung des Individuums (ko) ....................... 224 2.3.5.1.4 Home-for-All .............................................................. 227 2.3.5.1.5 Machizukuri auf Omishima ...................................... 236 2.3.5.1.6 Art Setouchi – Überleitung ...................................... 241 2.3.5.2 Kazuyo Sejima – Autonomie und programmatische Freiheit ....................................... 245 2.3.5.2.1 Inujima Art House Project ........................................ 245 2.3.5.2.2 Home-for-All auf Miyatojima ................................... 251 2.3.5.3 Riken Yamamoto – lokales Gemeinschaftsareal .... 252 2.3.5.3.1 Home-for-All in Heita ................................................ 252 2.3.5.3.2 „Local Community Area“ statt „Ein Haus = Eine Familie“ .............................................................. 253 2.3.5.4 Zusammenfassung ................................................... 262 3 Resümee ..................................................................................................... 265 3.1 Zusammenfassung der Erkenntnisse ................................................ 265 3.2 Fazit ....................................................................................................... 275 4 Anhang ....................................................................................................... 279 4.1 Glossar ................................................................................................... 279 4.2 Literatur- und Quellenverzeichnis ..................................................... 283 Einleitung Die folgende Arbeit befasst sich mit architektonischen Projekten, die in Zusammenhang mit dem Wiederaufau zerstörter Gebiete an der Nordostküste Japans, einem Teil der Region Tohoku, stehen. Dabei wird die räumliche Praxis des Wiederaufaus in Tohoku und der darin ver- wirklichten Architekturprojekte analysiert und mit einer gesellschaf- lichen Regeneration des Katastrophengebietes (hisaichi no saisei) in Verbindung gebracht. Kontext Auf die Tsunami-Katastrophe in Tohoku 2011 folgte ein intensives Engagement von Architekten in einem Katastrophengebiet, das in dieser Form ohne Vergleich ist. Ist von architektonischen Projekten in Katastrophengebieten die Rede, so sind damit meist humanitäre Hilfsprojekte (westlicher) Archi- tekten in Entwicklungsländern gemeint. Sie stellen
Recommended publications
  • El Colegio De México EL MERCADO DE IDOL VARONES EN JAPÓN
    El Colegio de México EL MERCADO DE IDOL VARONES EN JAPÓN (1999 – 2008): CARACTERIZACIÓN DE LA OFERTA A TRAVÉS DEL ESTUDIO DE UN CASO REPRESENTATIVO Tesis presentada por YUNUEN YSELA MANDUJANO SALAZAR en conformidad con los requisitos establecidos para recibir el grado de MAESTRÍA EN ESTUDIOS DE ASIA Y ÁFRICA ESPECIALIDAD JAPÓN Centro de Estudios de Asia y África 2009 ÍNDICE INTRODUCCIÓN……………………………………………………………………. 3 I. FENÓMENO IDOL EN JAPÓN Y OBJETO DE ESTUDIO………………... 14 1. Desarrollo general de la industria idol……………………………………. 14 2. Definición de idol………………………………………………………… 18 3. La compañía Johnny’s Jimusho………………………………………….. 22 4. Arashi…………………………………………………………………….. 31 II. ESTRATEGIAS DE DESARROLLO DEL MERCADO IDOL…………….. 36 1. Primera etapa: Base junior, reclutamiento y formación…………………. 37 2. Segunda etapa: Lanzamiento y consolidación de mercado………………. 46 3. Tercera etapa: Diversificación y expansión de mercado…………………. 58 III. SITUACIÓN ACTUAL DEL MERCADO DE IDOL VARONES………….. 68 1. El dominio idol dentro de la industria musical en Japón…………………. 69 2. Fin del monopolio y cambio de estrategias en el mercado de idol varones en Japón……………………………………………………………………… 75 CONCLUSIONES……………………………………………………………………. 84 REFERENCIAS………………………………………………………………………. 88 ANEXOS……………………………………………………………………………… 98 1 NOTA SOBRE EL SISTEMA DE ROMANIZACIÓN UTILIZADO En el presente estudio se utilizará, para los términos generales y los nombres de ciudades, el sistema de romanización usado en el Kenkyusha’s New Japanese – English Dictionary (3ra y ediciones posteriores). En el caso de nombres propios de origen japonés, se presentará primero el nombre y luego el apellido y se utilizará la romanización utilizada en las fuentes originales. Asimismo, es común que los autores no utilicen el macron (¯ ) cuando existe una vocal larga en este tipo de denominaciones.
    [Show full text]
  • Biden's Foreign Agenda
    Asia’s struggle to vaccinate millions Xi’s priorities Muhyiddin’s gamble MCI(P) 053/04/2020 February 2021 BIDEN’S FOREIGN AGENDA A BIG SHIFT? WE BRING YOU SINGAPORE AND THE WORLD UP TO DATE IN THE KNOW News | Live blog | Mobile pushes Web specials | Newsletters | Microsites WhatsApp | SMS Special Features IN THE LOOP ON THE WATCH Facebook | Twitter | Instagram Videos | FB live | Live streams To subscribe to the free newsletters, go to str.sg/newsletters All newsletters connect you to stories on our straitstimes.com website. Data Digest Covid-19 vaccines: Types, routes & effectiveness WITH OVER 102 MILLION INFECTIONS Different routes to a Covid-19 vaccine and more than two million deaths How the leading contenders in the race to establish effective inoculation against the globally, much attention is now focused Sars-CoV-2 virus have approached the task on the vaccines in the works. Of the 237 vaccines in development, 64 are How vaccines work in various phases of clinical testing. 22 • Vaccines are all designed • There are four main • All methods rely • APC identifies • Immune cells will are currently in phase 3 of clinical trials, to safely trigger the body’s approaches towards on APC to initiate peptides, then be enabled to natural immune response developing a vaccine the immune snippets of recognise and with 18 still in phase 1, which include to Sars-CoV-2 against the virus response virus protein neutralise the virus testing the vaccine in a small number of healthy people. 1 Virus • Beijing Institute/Sinopharm* There are four main types of Covid-19 vaccines • Wuhan Institute/Sinopharm • Bharat Biotech/ ICMR vaccines in the works.
    [Show full text]
  • Weekly News Digest 産経オンライン英会話 ニュースディスカッション教材
    Weekly News Digest 産経オンライン英会話 ニュースディスカッション教材 ‘Let's End With A Smile’: J-Pop Idol Group Arashi Bows Out The male idol group perhaps most associated with Japan — Arashi — is to be no more. The five members of the popular boy band held a press conference on Sunday January 27, where 38-year-old leader Satoshi Ohno announced that the group is planning to suspend activities by the end of 2020. Ohno added that he is planning to take a break from the entertainment industry. Wearing colorful jackets, the five members of the group — half-laughing and half-crying — held an hour-long press conference, responding to questions from the press and discussing their reasons for taking this decision. “It’s not that I was tired of the group, but I thought it was time to get some distance, stop for a second, and reexamine myself,” explained Ohno. Showing how united the five members are, group member Sho Sakurai, 37, repeatedly stressed, “If it’s not all of us, it’s not Arashi.” Ohno explained how the decision was reached: “We exchanged thoughts and expressed what we felt about the situation. And when the other members told me, ‘Let’s end with a smile,’ that was really hard,” said the group leader, as he choked back tears. When asked whether the decision of the leader led to a fight among other members, the other four assertively denied the statement. The other members said, smiling: “But people wrote about it, didn’t they?” “We should have just lied about it.” “We really didn’t fight about it though.” The press conference, more than anything, seemed to reveal that these five men, who have spent the better part of their career of 20 years together, have a very strong bond.
    [Show full text]
  • Unbinding the Japanese Novel in English Translation
    Department of Modern Languages Faculty of Arts University of Helsinki UNBINDING THE JAPANESE NOVEL IN ENGLISH TRANSLATION The Alfred A. Knopf Program, 1955 – 1977 Larry Walker ACADEMIC DISSERTATION To be presented, with the permission of the Faculty of Arts of the University of Helsinki, for public examination in Auditorium XII University Main Building, on the 25th of September at 12 noon. Helsinki 2015 ISBN 978-951-51-1472-3 (paperback) ISBN 978-951-51-1473-0 (PDF) Unigrafia Helsinki 2015 ABSTRACT Japanese literature in English translation has a history of 165 years, but it was not until after the hostilities of World War II ceased that any single publisher outside Japan put out a sustained series of novel-length translations. The New York house of Alfred A. Knopf, Inc. published thirty-four titles of Japanese literature in English translation in hardcover between the years 1955 to 1977. This “Program,” as it came to be called, was carried out under the leadership of Editor-in-Chief Harold Strauss (1907-1975), who endeavored to bring the then-active modern writers of Japan to the stage of world literature. Strauss and most of the translators who made this Program possible were trained in military language schools during World War II. The aim of this dissertation is to investigate the publisher’s policies and publishing criteria in the selection of texts, the actors involved in the mediation process and the preparation of the texts for market, the reception of the texts and their impact on the resulting translation profile of Japanese literature in America, England and elsewhere.
    [Show full text]
  • Marketing K-Pop and J-Pop in the 21St Century Sarah Brand Dickinson College
    Dickinson College Dickinson Scholar Student Honors Theses By Year Student Honors Theses 5-21-2017 Marketing K-Pop and J-Pop in the 21st Century Sarah Brand Dickinson College Follow this and additional works at: http://scholar.dickinson.edu/student_honors Part of the Asian Studies Commons, Digital Humanities Commons, Japanese Studies Commons, Korean Studies Commons, Music Commons, and the Other Film and Media Studies Commons Recommended Citation Brand, Sarah, "Marketing K-Pop and J-Pop in the 21st Century" (2017). Dickinson College Honors Theses. Paper 266. This Honors Thesis is brought to you for free and open access by Dickinson Scholar. It has been accepted for inclusion by an authorized administrator. For more information, please contact [email protected]. MARKETING K-POP AND J-POP IN THE 21ST CENTURY Sarah Brand Senior Thesis Department of East Asian Studies Dickinson College May 10, 2017 Brand 2017 Music is an important part of daily life and, as a result, an integral part of culture. The way in which individuals are exposed to different genres and types of music helps illustrate the extent to which globalization has had an impact on the world. Before the invention of the internet, music was only available for purchase to consumers who went to record stores and physically purchased goods. Now, countless unique songs and genres are readily available with just a single search. Due to how easily consumers can access new music, digital distribution has completely overtaken the profit from selling physical copies of albums. In 2006, record labels still made $9.4 billion from CD sales in the United States, despite the fact that digital distribution entities, such as Napster and iTunes, provided digital copies of the same songs.
    [Show full text]
  • Japanese-Filipino Children and the Mobilization
    CLAIMING BIRTHRIGHT: JAPANESE-FILIPINO CHILDREN AND THE MOBILIZATION OF DESCENT Fiona-Katharina Seiger (Magistra Phil., University of Vienna) A THESIS SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF SOCIOLOGY NATIONAL UNIVERSITY OF SINGAPORE 2014 DECLARATION I hereby declare that the thesis is my original work and it has been written by me in its entirety. I have duly acknowledged all the sources of information which have been used in the thesis. This thesis has also not been submitted for any degree in any university previously. Fiona-Katharina Seiger ii Acknowledgments Having arrived at the end of my dissertation-writing journey I look back with heart-felt gratitude at the many people who have supported me in walking this long, arduous, but fulfilling path. Firstly, I would like to thank Dr. Kelvin Low for his great patience, guidance, and kindness. Kelvin, I think you are the finest supervisor any student can wish for; you are dedicated, careful, sharp, hard-working, and someone I will always look up to. I am very grateful you accepted to supervise this thesis mid-way. I would also like to thank A/P Mika Toyota, my initial supervisor, who made it possible for me to pursue a PhD by accepting me as her student and recommending me for a scholarship at the Asia Research Institute. Although we have not been in touch lately, I hope our paths will cross again in the future. I am grateful also to A/P Tim Amos who has encouraged me while I was writing and has invited me to guest-lecture in his class on two occasions.
    [Show full text]
  • Scientific Program
    IUGG XXIV GENERAL ASSEMBLY Perugia, July 2-13, 2007 02 July, 2007 J. Taylor, Matt J. Bailey, Natalia Solorzano, Thomas Jeremy, Robert H. 02:16 pm Geophysical survey of the Fagnano pluton. Tierra del UL001 Our Changing Climate: A Global Policy Issue, Holzworth, Steven Cummer, Nicolas Jaugey, Osmar Pinto, Nelson J. Schuch, Fuego. Argentina Robert W. Corell: Invited Speacher Marcos Michels, Vinicius T. Rampinelli. Speaker Sao Sabbas Fernanda Vilas Juan Francisco, Tassone A., Peroni J. I., Lippai H., Oral 2 July, 2007 from 08:30 AM to 09:30 AM - Rectorate Main Hall 12:15 pm Investigating Sprite Halo Optical Signatures and Menichetti M, Lodolo E. Speaker Vilas Juan Francisco US001 Our Changing Planet (Part 1) Associated Lightning Characteristics over South America Conveners: Peltier Richard Taylor Michael, S. Cummer, J. Li, F. Sao Sabbas, J. Thomas, 02:32 pm Paleomagnetism of Late Tertiary lava flows from Oral 2 July, 2007 from 09:30 AM to 12:30 AM - Rectorate Main Hall R. Holzworth, O. Pinto, N. Schuch. Speaker Taylor Michael Lundarhals, Storutjarnir, and Su durdalur, Iceland 09:30 am Solar Forcing Of Global Climate Over The Instrumental Era Oral 2 July, 2007 from 02:00 PM to 05:30 PM - Department of Physics Kono Masaru. Speaker Kono Masaru Lean Judith. Speaker Lean Judith Room B 02:48 pm Break-up of Pangea and early Mesozoic plate motions in 09:55 am Monitoring the Variability in the Atlantic Meridional 02:00 pm Balloon electric field measurements in the vicinity of an the central Atlantic, Atlas and Tethys regions Overturning Circulation at 25_N active convective storm Schettino Antonio, Eugenio Turco.
    [Show full text]
  • The Animation Studio, Ufotable (“Coyote Ragtime Show”), That Is Famous for High Quality and Unique Style Animation
    1aPROM08824.OT1A.indd 1aPROM08824.OT1A.indd 1aPROM08824.OT1A.indd 1aPROM08824.OT1A.indd 1aPROM08824.OT1A.indd 1aPROM08824.OT1A.indd 1aPROM08824.OT1A.indd 2008 New Titles 1aPROM08824.OT1A.indd 2008 New Titles the Garden of sinners “I can kill everything, even God” After two years in comma, Shiki Ryogi wakes up amnesiac. She finds, in turns, that she had obtained “eyes of death perception” with which she can see death of things and creatures around her. This is a suspense fantasy where she fights supernatural incidents with the psychic power. Based on the hit cult novel by Kinoko Nasu, “the Garden of sinners” has finally became animation. The seven movie series have been created by the animation studio, ufotable (“Coyote Ragtime Show”), that is famous for high quality and unique style animation. “the Garden of sinners” will blow your mind with breathtaking battle scenes and state of art visual! 01 Territory English speaking territories & South America Staff Original Story: Kinoko Nasu "Kara no kyoukai" Release Date (KODANSHA NOVELS) Chapter 1: December 2007 THEATRICAL Director: Ei Aoki (Chapter 1), Takuya Nonaka (Chapter 2), Chapter 2: January 2008 Mitsuru Obunai (Chapter 3) Chapter 3: February 2008 Character Concept: Takashi Takeuchi Program Run Time Character Design & Drawing Director: Tomonori Sudo, Chapter 1: 48 minutes Takuro Takahashi & Mitsuru Obunai Chapter 2: 58 minutes Script: Masaki Hiramatsu Chapter 3: 60 minutes Music: Yuki Kajiura Animation Studio: ufotable Chapter 4~7: TBA http://www.karanokyoukai.com/ ©KINOKO NASU/Kodansha・Aniplex・Notes・ufotable 2008 New Titles 2008 New Titles KANNAGI New Titles Jin Mikuriya, a member of high school art club, finally completes a wooden 2008 statue of a fairy for an exhibition.
    [Show full text]
  • Johnny's Entertainment
    Auteures: Anaïs BARONNAT et Alison PENNS-GUALCO Introduction Au Japon, il existe un bon nombre de styles musicaux. Cependant, ces dernières années, le visual kei et la pop se sont fait de plus en plus présents dans l’univers musical et médiatique japonais. Nous allons ici nous intéresser au genre le plus populaire qu’est la musique pop ou plus communément appelée J-pop. La J-pop tient ses origines de la musique traditionnelle japonaise et a été influencée dans les années 1960 par le rock. De nos jours, elle est utilisée dans les séries animées, les magasins, les publicités, les films, les émissions radio ou télévisuelles, et les jeux vidéo. Ce genre de musique renvoie principalement à des chansons sur l’amour, la jeunesse et l’amitié accompagnées d’instruments électriques et de synthétiseurs. La J-pop représente une part importante de la musique populaire au Japon, principalement due à la hausse des groupes d’idoles aussi bien masculins que féminins. Ces artistes sont souvent définis comme peu talentueux dans le domaine musical mais compensent cela par des performances artistiques telles que la danse et par leur style vestimentaire etc. Ils sont aussi caractérisés par leur capacité à nouer avec leurs fans une relation de confiance, ce qui leur permet aujourd’hui de fédérer de nombreux fan clubs. Une agence a su tirer profit de cette vague d’idoles en faisant le choix de les former et de les produire dès leur début jusqu’à la fin de leur carrière : il s’agit de la Johnny’s Entertainement (aussi appelée Johnny’s Jimusho).
    [Show full text]
  • March 2012 Issue of AJET Connect
    March 11 Welcome to Connect The monthly e-zine produced for JETs, by JETs, featuring the best news and articles from all over Japan. We are currently looking for inside writers, editors, photographers, and artists who want to create con- Jan/Feb Photo Contest Winner tent for this national publication! March 2012 We need YOU, the JET community, to get involved. 02 The Prez Send us your short stories, news articles, photographs, comics… 08 March 11 whatever it is that you do best…to [email protected]. 16 AJET Elections We’re waiting to see what you’ve got! 28 Life After JET Make your voice heard! 32 Culture Corner 42 AJET Volunteer AJET Connect Workplace 50 Travel 64 Food Safety Advisory System 72 Workplace Tips 80 Haiku NSFW4 82 Fashion and Beauty SEVERE RISK OF TRAUMA 88 Entertainment CANNOT EVER BE UN-SEEN 98 AJET Photo Contest NSFW3 MAY SURPRISE OR OFFEND EVEN SEASONED INTERNET VETERANS Josh Del Pino Izumo, Shimane NSFW2 AS PORNOGRAPHIC AS ANY OF THOSE RIDICULOUS EVONY ADS NSFW1 SOME PAGES NOT SAFE FOR PEOPLE WITH SCREENS SEEN BY COWORKERS Signup for AJET Connect Not signed up for SFW AJET Connect? PROBABLY HARMLESS, SAFE FOR PEOPLE 50+ YEARS OLD Then you can sign up HERE! CEO Matthew Cook PR/MEDIA Cailin Arena ART DIRECTOR Rob Maxwell EDITORIAL Sarah Blenkhorn CONTRIBUTING EDITORS Cailin Arena (News) Annabella Massey (Fashion & Beauty) Amelia Hagen (Travel) Simon Daly (Food) Chris Barstow (Entertainment) Adam Chludzinski (Sports) Lisa Cross & Sarah Blenkhorn (Events) ... (Education) Sarah Blenkhorn (Culture) ... (Short Stories) Melody Wong and Matthew Thompson (Volunteering) ADVERTISING Amelia Hagen, This month’s winners will be entered in the yearly Photo and Miriam Rollason & Genba Bigby ADMINISTRATION/ACCOUNTING Mark Noizumi Haiku winners, where they will be eligible to win a prize.
    [Show full text]
  • Arashi Album)
    Here We Go! (Arashi album) 01. Kansha Kangeki Ame Arashi 02. OK! ALL RIGHT! ii Koi wo Shiyou 03. Kansha Kangeki Ame Arashi (Original Karaoke) 04. OK! ALL RIGHT! ii Koi wo Shiyou (Original Karaoke) UT. ARASHI No.1 ~Arashi wa Arashi wo Yobu~ [Album] (24.01.2001). 01. Tomadoi Nagara (album version) 02. Canâ™t Let You Go (Vocal: Sho Sakurai) 05. Yabai-Yabai-Yabai (Vocal: Jun Matsumoto) UT Step and Go [Single] (20.02.2008). 01. Step and Go 02. Fuyu wo Dakishimete 03. Step and Go (Original Karaoke) 04. Fuyu wo Dakishimete (Original Karaoke) UT Dream''A''live [Album] (23.04.2008). CD 1 01. theme of DreamâAâlive 02. J Storm Official Site Arashi Discography Album. ãŒuntitledã. Arashi. Album - 2017.10.18. Are You Happy? Arashi. Album - 2016.10.26. Japonism. Arashi. Album - 2015.10.21. The digitalian. Arashi. Album - 2014.10.22. Love. Arashi. Album - 2013.10.23. Popcorn. Arashi. Album - 2012.10.31. Beautiful World. Arashi. Album - 2011.07.06. 僕ã®è¦‹ã¦ã„る風景. Arashi. Album - 2010.08.04. ARASHI 5×10 All the BEST! 1999-2009. Arashi. Album - 2009.08.19. Dream"A"live. Arashi. Album - 2008.04.23. Time. Arashi. Album - 2002.10.30. Here we go! Arashi. Album - 2002.07.17. ARASHI DISCOGRAPHY (Album). I'm sorry but I won't reupload anything anymore. The links that works, works, the ones that are broken are gone forever. Please, don't ask me to reupload :) 1) I don't share other files (but someone asked me to add their files to this collection) 2) To copy my CD, to scan, to upload (mediafire) and re-upload (filecloud) took a lot of time, so please respect my work ^^ 3) I still haven't completed my collection, so I don't have ALL the CDs or ALL the RE/LE. Here We Go! [RE] Download DISC Download SCAN.
    [Show full text]
  • Poster Presentation
    Room P Poster Presentation Booth No. 001 002 003 004 005 …… 131 132 Date Time 9:50~10:00 10:00~10:20 15 1P 10:20~11:00 a Wed. 11:00~11:40 b 11:40~11:50 12:50~13:00 13:00~13:20 16 2P 13:20~14:00 c Thu. 14:00~14:40 d 14:40~14:50 14:50~15:00 15:00~15:20 17 3P 15:20~16:00 e Fri. 16:00~16:40 f 16:40~16:50 Presentation Time Mounting Time Display Time Removeing Time Wednesday, September 15 Presentation Time <a=10:20~11:00> <b=11:00~11:40> Polymer Chemistry: Synthesis and Reactions ( Room E314 ) 1Pa001 Microwave-Assisted Synthesis of Organic-Inorganic Hybrids Exhibiting Red or Near-Infrared Emission Yuichi Kajiwara,Atsushi Nagai,Yoshiki Chujo ..................................................... 2521 1Pb002 Inversion of chirality in the self-aggregation of foldable oligophenylenevinylene dimers Yusaku Goto,Shiki Yagai,Takashi Karatsu,Akihide Kitamura,Tsuyoshi Tazawa,Yoshihiro Kikkawa ................................................................................. 2522 1Pa003 Supramolecular Chirality of the Perylene Bisimide Assemblies Tomohiro Seki,Shiki Yagai,Takashi Karatsu,Akihide Kitamura ........................... 2523 1Pb004 Diastereomeric Salt Formation Using Glycodendron with Focal Amine Group Nobuhiro Takahashi,Tomoyuki Tajima,Yutaka Takaguchi .................................. 2524 1Pa005 Correlation in Molecular Weights of Guest and Host Molecules in Inclusion Complexes Formed by Vine-Twining Polymerization Koji Ueno,Asami Yoshioka,Yoshiro Kaneko,Jun-ichi Kadokawa .......................... 2525 1Pb006 Preparation of Biodegradable
    [Show full text]