Pix4Japan

2024-10-15

Lakeside Panorama Hall

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Lakeside Panorama Hall: Discover the Hakone Imperial Villa’s Timeless Charm
旧御用邸の面影を訪ねて：恩賜箱根公園の湖畔展望館

Completed in 1886, the Hakone Imperial Villa was a grand retreat designed for the imperial family, blending traditional Japanese architectural elegance with European influences popular in the mid-to-late 1800s. Nestled in the serene hills overlooking Lake Ashinoko, it served as both a peaceful escape and an impressive venue for hosting foreign dignitaries.

For decades, the villa symbolized refined hospitality. German, Russian, Austrian, Romanian, and British royalty, alongside ministers from Italy, the UK, and Siam (modern-day Thailand), were received here with grandeur. I can only imagine the lively banquets and quiet diplomatic exchanges that may have taken place, surrounded by the cool mountain air and the villa's carefully cultivated gardens.

Tragically, the Great Kanto Earthquake of 1923 dealt a devastating blow to this architectural marvel, with further damage following the Kita-Izu Earthquake in 1930. The grandeur of the villa slowly faded as it fell into disrepair during the hardships of World War II. By 1945, what remained of the estate was transformed into Onshi-Hakone Park, an effort to preserve its legacy.

In 1989, restoration efforts began to reimagine the gardens and introduce new structures, including the Lakeside Panorama Hall. Completed in 1992, the hall—crafted from hewn white granite—now houses a cozy café and a museum. Inside, exhibits offer glimpses of the villa's former glory, from intricate architectural details to images of grand receptions held in its halls.

The park was recognized as a National Registered Monument in 2013, a testament to its enduring cultural and historical significance. Its beautifully preserved landscaping, with meandering paths and sweeping views of Lake Ashinoko, hints at the artistry of the original imperial gardens.

As I stood on the grass lawn in front of the hall, I noticed the weathered foundation stones scattered across the ground—silent witnesses to the history that unfolded here. It was surreal to imagine the palace halls that once stood on these very stones, hosting royalty from across the globe in an era when reaching Japan from Europe took weeks, if not months, of arduous travel.

Yet here I was, standing in the same spot, knowing that in today’s world, a middle-class college student on vacation could leave their home and arrive at this park in less than 24 hours. The accessibility of this once-exclusive retreat now feels like a testament to how much the world has changed—and how connected we’ve become.

Location: Hakone, Kanagawa Prefecture, Japan
Timestamp: 14:20・2024/10/15
Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
28 mm ISO 200 for 1/200 sec. at ƒ/6.3

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Onshi-Hakone Park

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From Emperor’s Retreat to Scenic Haven: Onshi-Hakone Park
恩賜箱根公園：皇室の別荘が公共の宝へ

Until 1884, this area was covered in dense bamboo forests. That changed when Erwin Bälz (1849–1913), a German physician hired by the Japanese government to teach medicine at Tokyo University, conducted research and recognized the potential of Hakone as a summer retreat. Bälz believed the area’s therapeutic hot springs could benefit Crown Prince Yoshihito (1879–1926), the sickly son of Emperor Meiji (1852–1912). With his recommendation, Hakone was chosen as the site for an imperial villa.

Perched on the Dogashima Peninsula, the location offered stunning views of Lake Ashi (Ashinoko) and the iconic peak of Mt. Fuji. The peninsula’s natural landscape provided not only beauty but also strategic advantages, making it easier to guard the villa from potential intrusions.

Completed in 1886, the Hakone Imperial Villa was an extensive complex that served as a retreat for the imperial family and a venue to host foreign dignitaries. For decades, it stood as a symbol of elegance and hospitality.

Tragically, the villa was severely damaged by the Great Kanto Earthquake in 1923 and further impacted by the Kita-Izu Earthquake of 1930. In the years that followed, particularly during World War II, the once-majestic grounds and structures fell into disrepair.

In 1945, the Imperial Household Agency transferred the land to Kanagawa Prefecture. It was later transformed into the public park we know today. Fittingly named Onshi Park (恩賜公園), meaning “Gift Park,” the name serves as a reminder that this beautiful space was once an imperial gift—one that continues to delight visitors with its serene views and rich history.

Location: Hakone, Kanagawa Prefecture, Japan

Photo 1

Timestamp: 14:20・2024/10/15
Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
48 mm ISO 200 for 1/250 sec. at ƒ/7.1

Photo 2

Timestamp: 14:40・2024/10/15
Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP + 6-stop ND filter
28 mm ISO 100 for 5.0 sec. at ƒ/10

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Heiwa-no-Torii

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Heiwa-no-Torii: A Sacred Gateway Meets the Shores of Lake Ashinoko

芦ノ湖に佇む箱根神社の入口・平和の鳥居

This torii gate serves two significant purposes. First, it marks the entrance from the shore of Lake Ashi to Hakone Shrine, which sits 213 meters (700 feet) up on the hill behind the gate.

Unlike most traditional torii gates, the Heiwa-no-Torii (Gate of Peace) is built directly over the water. Erected in 1952, it commemorates the Treaty of San Francisco, where Japan concluded peace with 48 nations, formally ending World War II.

Torii gates symbolize passage into divine territory, denoting the boundaries of a shrine’s sacred grounds. Proper etiquette includes bowing slightly before passing under the gate. When possible, it’s best to enter through either the right or left side of the pathway, as the center is reserved for the enshrined deities. Avoid walking around the gate altogether whenever possible.

The Heiwa-no-Torii is not easily accessed from the water, so most visitors approach the gate from behind and pose for photos with Lake Ashi as a stunning backdrop. However, as the gate serves as an entrance to an active sacred site, standing slightly to the right or left of the center pathway is the most respectful way to honor Shinto tradition and Japanese culture.

In 1964, a plaque inscribed with “平和” (Peace) was mounted on the gate to celebrate the 1,200th anniversary of Hakone Shrine and Japan’s hosting of the Tokyo Olympics. The calligraphy was personally written by former Prime Minister Yoshida Shigeru, who signed the peace treaty on Japan’s behalf. Since then, the gate has been affectionately known as the Torii Gate of Peace.

Location: Hakone, Kanagawa Prefecture, Japan
Timestamp: 13:36・2024/10/15
Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
105 mm ISO 100 for 1/400 sec. at ƒ/10

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Hummin' Bloom

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Hummin' Bloom: Autumn’s Reflections in Titanium
「ハミングブルーム」秋色が踊るチタンの窓

“Keiko + Manabu” is a creative team led by Keiko Uchiyama (内山敬子) and Manabu Sawase (沢瀬学), blending their architectural expertise with artistic flair to craft immersive designs. Based in both Seattle and Tokyo, their work spans urban spaces, public installations, and private residences.

One of their standout creations is Hummin' Bloom, a titanium art piece that harmonizes with its surroundings while reflecting nature’s palette.

Crafted from 5-mm titanium plates, the surface treatment transforms Hummin' Bloom into a living canvas, reflecting light in a spectrum of rainbow hues. Warmer tones at the base echo the earthy woodland floor, transitioning into cooler blues that mirror the sky above Hakone’s mountain peaks.

Its design invites exploration: each crescent-shaped cutout frames a unique view, shifting in color and mood depending on your angle and the light. On sunny days, the hues are bold and vibrant, while overcast skies lend a subdued, dreamlike quality. Mist or fog enhances its surreal presence, as the curved openings transform your perspective with every step.

Personal Tip: The best way to experience Hummin' Bloom is to get up close. Peer through its cutouts, walk around it, and let each angle reveal a fresh connection to the surrounding landscape.

Location: Hakone, Kanagawa Prefecture, Japan
Timestamp: 10:26・2024/10/15
Fujifilm X100V with 5% diffusion filter
ISO 160 for 1/40 sec. at ƒ/2.0
Velvia/Vivid film simulation

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Air Burial

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“Air Burial”: Reflections of Tibetan Wisdom in Glass
「鳥葬」：チベット文化の叡智を映すガラス彫刻

American artist Roni Horn, renowned for her contemporary works in painting, photography, sculpture, and drawing, often draws inspiration from nature’s forces and their shifting interplay with our perceptions of objects and landscapes.

My photo captures autumn leaves reflected in a pool of water atop Horn’s glass sculpture, Air Burial. The cylindrical piece, measuring 131.4 cm tall (51 in.) and 142.2 cm in diameter (56 in.), was crafted through a process Horn developed in the 1990s, where molten glass is poured into a cast and set over months. The result is a translucent exterior and a transparent, almost liquid-like interior. The water collected on the surface creates two layers of reflection, merging nature and art.

The title, Air Burial, references the Tibetan funerary ritual commonly known as a “sky burial.” This practice reflects a deep understanding of life’s impermanence, with the body returned to nature to sustain other life—a sustainable tradition shaped by Tibet’s harsh environment. Horn once explained that she envisions her sculpture undergoing a similar organic transformation, gradually breaking down and merging with its surroundings, echoing the essence of the sky burial.

Location: Hakone, Kanagawa Prefecture, Japan
Timestamp: 10:17・2024/10/15
Fujifilm X100V with 5% diffusion filter
ISO 160 for 1/800 sec. at ƒ/2.0
Velvia/Vivid film simulation

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Iron Tree

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Ai Weiwei’s “Iron Root”: Art Rooted in the Struggles of Uprooted Lives
アイウェイウェイの『鉄樹根』：根こそぎにされた人生を映し出す芸術

Ai Weiwei has been using trees as a powerful symbol in his art since 2009. His sculptures, often made of wood or iron, are like puzzles—crafted from pieces of trees he gathered from different parts of China. This idea was inspired by a tradition in Jingdezhen, where dried tree sections with intricate forms are sold as decorative pieces for the home, appreciated for their beauty and contemplative nature.

The sculpture in my photo is one of Ai’s iron tree trunks. At first glance, it looks like an old, weathered, dead tree trunk. But if you tap on it, you’ll realize it’s hollow and made of iron—a clever twist that adds an unexpected layer to the experience.

Ai Weiwei’s “Roots” series, which includes works like this, is about more than trees. It speaks to the idea of being “uprooted,” reflecting on global issues like the struggles of refugees, the destruction of Indigenous lands, and even Ai’s own experiences with displacement—both his arrests in China and his life after leaving the country.

For those unfamiliar, Ai Weiwei (b. 1957) is a world-renowned Chinese artist and activist. He’s known for creating sculptures, installations, films, and photographs that spark conversation and sometimes contention. His work often challenges authority, which has made him a controversial figure in China. After leaving the country in 2015, he’s lived in places like Germany, Portugal, and the UK.

Location: Hakone, Kanagawa Prefecture, Japan
Timestamp: 10:08・2024/10/15
Fujifilm X100V with 5% diffusion filter
ISO 160 for 1/20 sec. at ƒ/4.5
Velvia/Vivid film simulation

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Adamo e Eva

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Adamo e Eva: Masaru Bando’s Bronze Compassion in Hakone
アダモとエヴァ：箱根に響く板東優の青銅の共感

This bronze sculpture, titled “Adamo e Eva” (Adam and Eve), was commissioned by the Pola Museum of Art in Hakone, Japan, in 1994. The artist, Masaru Bando (板東優), often begins his creative process by exploring the human condition and its emotional expressions.

The Pola Museum features 13 of Bando’s bronze sculptures, which range from abstract to figurative. These works vary significantly in size, from pieces small enough to fit in the palm of a hand to monumental installations requiring transportation by crane and truck.

On his website, Bando explains, “Many of my sculptures contain an underlying social-political concern. With traditional materials and timeless themes, I wish to portray the universal nature of contemporary situations.”

The sculpture I photographed, “Adamo e Eva,” reflects Bando’s deep compassion for those who suffered during the Siege of Sarajevo, a harrowing event that occurred during the Bosnian War (1992–1995).

Born in 1952 in Hokkaido, Japan, Bando began studying sculpture in Tokyo before pursuing further education in Rome, Italy, at the age of 22. His talent quickly gained recognition, and he started exhibiting his work in Italy and Paris. By the 1980s, Bando was creating commissioned pieces for museums, parks, and corporate facilities in Japan, the United States, and Korea.

Today, Bando divides his time between studios in New York and Japan. At the Pola Museum in Hakone, most of his larger works lean towards abstract figures, while others charm viewers with playful motifs of children or dogs.

Location: Hakone, Kanagawa Prefecture, Japan
Timestamp: 10:03・2024/10/15
Fujifilm X100V with 5% diffusion filter
ISO 160 for 1/70 sec. at ƒ/4.5
Velvia/Vivid film simulation