Let’s Have a Talk: 2020 Laboratory of Forest Art, Yokohama

 

This is the time of a year GROUP the Creation and Voice of the Woods holds annual art show, 2020 Laboratory of Forest Art, in a Yokohama’s forest. As in my post on September 4^th, this year’s event puts an emphasis on online presentation which has started on September 6^th. Having said that, on September 20^th the works of artists in the forest are ready for 2020 Exhibition. The installations are there until October 18^th. You can visit the forest next to Satoyama Garden festival and enjoy the art show for this fall. In today’s post, I report my experience with the new works the artists created for 2020. I have an impression they are deepening their way of conversation with the forest. It’s something, really.

First, the access to the venue. Since there is no parking, a recommended way is by bus. The most convenient transportation is a bus ride to Yokohama Zoorasia, from JR Nakayama 中山 Station, Sotetsu Tsurugamine 鶴ヶ峰 Station, or Sotetsu Mitsukyo 三ツ境 Station. (Timetables are here.) Get off the bus at Yokohama Zoorasia and proceed further along for about 400m to the direction of #2 Parking of the Zoo. On your right, there will be a small gate with the sign GROUP the Creation and Voice of the Woods. If you visit the place during weekends, many buses will take us to the North Gate of Zoorasia that is the closest to the art exhibition entrance. When you leave the terminal stop of Zoorasia North Gate, go back a bit along the bus road, and on your left is the sign for the GROUP. From there enter the forest. The road is a relatively wide walking promenade. Soon you can see a big banner over there saying “the Creation and Voice of the Woods 創造と森の声.”

Let’s enter the forest, following their map to start with the Exhibition #1.

Exhibition #1

Haruna Chikada, “Dive into the Forest”

In this installation, she built iron pillars with horizontal stems of bamboo-leaf oaks (Quercus myrsinifolia), a dominant species for the North Forests of Yokohama. At the entrance of her art, the oaks are laid on the ground. They then are gradually lift up by iron pillars to reach high above our head at the end. Actually, the height of the last and highest pillars is at the same “altitude” of the stems on the ground at the entrance. The effect of this geometrical exercise is a mesmerizing expression of the depth of Yokohama’s forest on not-so-gentle slopes of our port city. In this way, Chikada chats with Yokohama’s forest with her amazement to the nature. It is an exciting beginning of 2020 show.

Haruna Chikada

Exhibition #2

Noriaki Oka, “Glancing, Passing, and Forgetting”

Oka has made a skeletal tunnel made of stems harvested from the forest and dangled several wire coils and kids-made figurines from the last year’s workshop. We walk through it and observe the dissected forest beyond the wall of the tunnel. The coils and figurines can sometimes be looked like “an eye of a fish or an animal.” Or, with your imagination, the scenery seen from “inside” of the tunnel can transform into whatever way you like. It’s a fun installation. Please enjoy it with kids!

Noriaki Oka

Exhibition #3

Toshikazu Kanai, “The Garden of Fallen Tree”

The material of Kanai’s installation is violently broken Quercus serrata by the last year’s typhoons. He cleared space around the fallen tree and glued marbles here and there on the dead body of the oak. He said during the process, he was amazed by the existence of the tree. He felt he was creating a bridge between the tree and human body. The broken tree is slowly decomposing so that the same scenery won’t be available next year, perhaps. For him it is a funeral of a tree that will be nutrients for the next generation. This is a beautiful work. If you have a chance, please go there and join meditative memorial service. + There is one piece of ceramic nearby, which Kanai made in his atelier. Could you find it?

Toshikazu Kanai

Exhibition #4

ASADA, “Tree Pondering Spring”

ASADA said these days she often hikes with her teenage son. He is in a difficult stage of life, full of “Strum und Drang.” In arduous journeys with him in mountains, she had the brainwave for this installation. People who come to meet this can add more woods to the pile, or, she said it is perfectly OK to demolish the structure all together. She was sure, constructing it or not the doer for this work must experience meditation to some unforeseen result, just like teenagers facing their future, especially now with rapidly changing world. In the process, the nature surrounding the player will influence the entire process. Imagine what would happen if a strong wind of typhoons visits the pile? She recalls the spring of youth is always in such a state of mind … Please add/subtract wood for this pile by yourself.

ASADA

Exhibition 5

Akatsuki Harada, “Regeneration”

Last year, an old member of the GROUP, Mr. Fukuda, passed away. He was a leader when they took care of the forest. One of his last work was to fell a damaged old Cerasus jamasakura. It was a huge tree. Harada decided to show a respect to Mr. Fukuda with 5 installations out of the logs harvested from the cherry tree. For 2020, he returned his site to continue his work with the remaining logs of cherry tree. He found an astonishing scenery. From the stamp Mr. Fukuda created, the cherry tree has started a coppice regeneration. Harada recalled the words of Mr. Fukuda. “Once an old tree fell, its body is decayed by the other creatures in the forest to be a part of the soil. Not only that, the way sunlight comes in, the wind blows, the rainwater runs … all of these things for the spot once a large tree stood must be changed due to the absence of a large tree. This way, forest never dies. It regenerate, you know.” So, this year, Harada decided to raise the main trunk of the cherry Mr. Fukuda fell, next to the coppicing tree. It is for the teaching of Mr. Fukuda. The new installation stands with the regenerated tree and the 5 smaller installations Harada created last year. 2019 work has started to be covered by moss and mushrooms. The fallen leaves are dangling on their head. They are becoming a part of the forest more, just as Mr. Fukuda said …

Akatsuki Harada

Exhibition 6

Kazuo Ishikuro, “Oh-Mori-mori (Giant Salamander of the Forest)”

I really recommend going the forest to meet this creature. It’s HUGE! Ishikuro said “It’s a powered-up version of last year’s ‘spirit of the forest.’ He’s worrying. He’s heard something of virus. He plans to come to human world and work with magical creatures like Amabie (my post on June 12, 2020) about COVID things …” Ishikuro constructed the basic form of Oh-Mori-mori with wire mesh and covered it with a rough lattice made of stems of sasa bamboos dominated the site when Oh-Mori-mori ‘came’ here. We see his tail wagging, as the sasa-mesh is intentionally woven loose. By the end of the exhibition, his body could be covered more with fallen leaves … and so the creature is ready to MOVE! (Wooooooooooow) Oh, by the way, Oh-Mori-mori has 4 attendants near him. Could you find them?

Kazuo Ishikuro

Exhibition 7

Naoko Kobayashi, “Awake Quietly”

This is Kobayashi’s debut installation for Laboratory of Forest Art. She filled many colorful plastic containers with the soil of the site where her work now situates. The ground must be the home of many creatures, microbes, insects, sleeping seeds, etc. etc. What will happen with the colorful dots of containers with soil? They will awake quietly without any attention from humans … Let us see.

Naoko Kobayashi

Exhibition 8

Youichiro Yoshikawa, “Furrow”

This is a continuation of Yoshikawa’s project since 2018. The beginning of the installation was his manifestation about art: the instantaneous communication of almost immortal nature and temporal human being. He created his “garden” within the forest as a conversation with the nature. He moved dwarf lilyturf harvested in the forest to make a circle and meandering “promenades” for humans to stroll. Several ‘nice looking natural logs’ were collected and intentionally erected at the current positions ‘just like designing a garden.’ He’s pruning the vegetation he purposefully left in 2018. By September 2020, the place has a circle border of dwarf lily and passages with more established “garden greens.” This time, Yoshikawa brought road-measure like wheels to walk around his ‘garden turf’ to ‘mark the furrow in the forest.’ At least for me, this is a strong testament from an artist to work with the forest. Any wheels, bikes, motored vehicles, baby carriages, or road-measures, can consume the natural spongy soil of forest very easily. In the climate of Kanagawa Prefecture, once 1 cm of topsoil is lost in this way, it takes 100 years for the forest to recover from the ‘damage.’ Forest scientists for the Prefecture’s Forest Labo are busy calculating this number to budget maintenance works for water source forests. Yoshikawa defiantly runs the wheel since “It is the relationship between mortal men and eternal nature.” Hmmmmmmmm. Thought provoking …

Youichiro Yoshikawa

Exhibition 9

Youko Kiga, “From the Framework, 2020”

If we enter the forest to see this installation, it’s there at the same place for the 2019 Show. The way the work presented is the same as well. Though, the passing of time from 2019 to 2020 is recognizable with worn-off paints and sunburns of the materials. Kiga recorded these changes in forest-time and created her installation for 2020 to be presented in YouTube. Please check here and enter to see her latest installation. I haven’t seen it yet. She plans to publish it on September 26^th. Let’s stay tuned.

Youko Kiga

The first impression of mine for this year’s show is, their forest is becoming more lively. Yeah, Japanese oak tree wilt is killing many large Quercus serrata. The GROUP is covering the bottom of their symbol oak standing at the entrance of their forest, in order to protect it from the infection. Browned patches of canopy are visible here and there. In addition, the damages caused by the last year’s typhoons are still remaining. Though, the place has less impression of abandonment. The bushes of overwhelming sasa bamboos are not so dominating as before when the GROUP moved from the previous site which is now for the Satoyama Garden Gramping business. The artists have taken care of the forest. Such relationship with the place is becoming a part of characteristics of the Exhibition. Before, they were sometimes quarrelling with the forest. Or, an installation could lose the direction in a mess of sasa bamboos and mosquitos. This year, it seems to me, they are getting the grip for conversation with the forest. Even with the desiccated Quercus serrata, atmosphere of the show is more relaxing and soothing. If you have a chance to visit Satoyama Garden fiesta held till October 18^th, please drop in the Exhibition as well. It’s so stimulating to see the artists developing their dialogue with the nature. Maybe, such effort is something we all need in this age of global warming and COVID-19.

If you find a problem in the site introduced in this post, the best contact address will be GROUP the Creation and Voice of the Woods.

https://morilab.amebaownd.com/

e-mail: morinokoe7@yahoo.co.jp

 

The city office which is in charge of this forest is

Office for the Park Greeneries in the North 北部公園緑地事務所

Yokohama Municipal Government Creative Environment Policy Bureau 横浜市環境創造局

Phone: 045-311-2016

FAX: 045-316-8420

Improving: Nature in Shinyokohama Park along Tsurumi River 鶴見川多目的遊水地

 

Last year, we had several monster typhoons which caused floods and landslides in Metropolitan Tokyo area. One of such was Typhoon Hagibis that let Japanese government to decide flood the sports park surrounding the Nissan Stadium, aka Shinyokohama Park 新横浜公園, for October 13^th Rugby World Cup match between Scotland and Japan. The access to the anti-flood facility of Shinyokohama Park called Tsurumi River Multipurpose Retarding Basin 鶴見川多目的遊水地 is, of course, off-limit for non-permit holders. This summer, I had a chance to enter the restricted area and to join a nature observation session there. It was damned hot and humid day. We donned face asks. But the flood control area was only for us, i.e., no congestion at all, winds over Tsurumi River 鶴見川 was comfortable, and water creatures were cute. Today, I report you my adventure with nature thriving on the man-made flood control system in Shinyokohama Park.

The entire scenery of this photo was flooded last October.

As I mentioned in my post on February 21 this year, the flood control mechanism in Shinyokohama Park is one of the bests (and the most expensives) in Japan. Since its opening in 2003, Shinyokohama Park was operated as a flood buffer 21 times, or in total of 240 hours. People from Tsurumi River Watershed Center 鶴見川流域センター explained us the flood control is by the Ministry of Land, Infrastructure and Transport of Japan, and the management of sports park is done by the City. After the place was used as a flood pond, the cleaning of the area to restore the facility is by the City of Yokohama. “Last year when the Rugby World Cup was held, the City spent 60 million yen (USD 600 thousand) to clean up the place after the flood.” As Tsurumi River meanders from a small hill in Machida City (ASL 170m) to Tokyo Bay, it wears Tama Hills made of sand and mud. Its water is always muddy, unlike the neighboring Tama River. When it floods it carries tons of mud to the basin. So, “The cost of cleaning up depends on the amount of mud remained on the park. Last year’s amount was for 60-million-yen expenditure. In the City of Yokohama, this was the last remaining flat public land of this size. The municipality accepted the deal.” I see.

Maintaining this scenery costs money.

Aside from its local coordination mechanisms and the overall design as an anti-flood reservoir, it was interesting to see on site the detail of Tsurumi River Multipurpose Retarding Basin. The off-limit area of Shinyokohama Park starts from an elongated pond in the north that acts as a stilling basin when the flood happens. In summer it is covered by Trapa japonica. “We cleaned the pond few years ago, then the plant came out naturally.” The person from the Center said. That’s interesting. Although the Park is surrounded completely by commercial, industrial, and housing buildings, if preparation is OK, nature comes back almost automatically. The north of the pond is 400m overflow dyke, strictly off-limit for non-permit holders. The levee of Tsurumi River for Shinyokohama Park is Prefectural Road #13 that has bus stops for Nissan Stadium. The overflow dyke is 3m lower than the levee so that when Tsurumi River is flooding, 400m wide overflow naturally occurs here. In normal times, the overflow dyke is very wide-open strolling place for occasional visitors like us, or for a helicopter to land. It’s an artificial structure whose slope is constructed with many gabions of wire cage. Each unit of gabion is staffed with natural stones so that when the area is inundated the water can seep in the cage. In this way, the power of flow is dampened, and the sports park can be opened just by cleaning up the mud. Moreover, the cage becomes home for many kinds of creatures, animal and vegetable. In mid-summer, walking on the overflow dyke is like strolling a wide paved road sandwiched by natural gentle slopes with lots of grass and insects. “We mow the area once or so a year.” I guess it also helps for the area to increase the biodiversity as it allows the floor to receive enough sunshine. Nature can grow in the middle of city on such artificial arrangement.

The pond in the north of the sports park.
 It is shielded by the wire fence.
 We can go without permit near to the fence.

The pond in summer is covered by Trapa japonica. Grey helons make the place home. It means, the pond has lots of foods for the birds.

The entrance to the overflow dyke is locked securely.

From the entrance on the levee,
 it is going down 3m to the dyke.

The 400m long overflow dyke of
 Tsurumi River Multipurpose Retarding Basin

Both east and west ends of the dyke have
 this water gage pole that send real time info
 24/7 to the control center of the river.
 It can measure the amount and speed of
 water flow with various electromagnetic waves.
 “Please do not enter the zebra zone, NEVER.
 It interprets your height as the water depth,
 and your movement as the speed of the overflow.
 The emergency scramble will be issued.”

The entire slope of the dyke is constructed with such gabions.

The northside of the dyke to Tsurumi River was
 received mowing when we’ve been there in August.

And the place has a family toilet for wild racoon dogs.
 It seems to me the restricted area is a safe place for wild animals.
 The poop was fresh.

The large sign on the dyke visible
 from helicopters when they need it.

After flood,
 water in the park is returned to the river from this gate.

In Tsurumi River at the corner of Shinyokohama Park, there is a small weir named Kozukue-Seki 小机堰. It is a mobile weir that was to flood rice paddies before. Now its main function is completely retired, but it acts as a small waterfall for the River that runs relatively flat plane. The bubbling caused by the cascade incorporates oxygen from the air in the water. Especially during summer, it creates an ideal condition for water creatures to ride over heatwave. Tsurumi River separated from Shinyokohama Park by an artificial dyke covered by growing natural environment has many kinds of fishes. Just for 15 minutes playing with small fishing nets on the riverbank, we could capture several kinds of aquatic lives. Thanks to Kozukue-Seki, the fishes of brackish water can come up to this point from Tokyo Bay. Some decided to stay here. Flathead grey mullets are making the area their home. Crabs are more mobile, the people from the Tsurumi River Watershed Center told us. According to them, Japanese mitten crabs are identified in almost entire Tsurumi River, although they are not as large as we can find in Chinese restaurants. Yet fishes in Shinyokohama Park were far larger than those we can find in Yadoriki Stream 寄沢. I realized that’s the difference between river basin and mountainous valley. Yeah, Shinyokohama Park is a typical urban sports park. As Tsurumi River gathers sewage of millions of people although they undergo intensive advanced treatment, the river’s BOD has still rooms of improvement. But Tsurumi River secretly becomes home for so many living creatures that have voluntarily immigrated to this artificial place. That’s something.

Kozukue-seki

A flathead grey mullet easily captured

We did a bit of fishing …

Dragonfly nymphs of three kinds: of Melligomphus viridicostus, Sieboldius albardae, and Boyeria maclachlani.

Hairly Japanese mitten crab

Pacific redfin and pale chub. Looked from front, they look very cute. 😊

Tsurumi River has many kinds of
  Gobiodei as well.

So, now in Japan the time of typhoons has come again, and we may see another inundation of Shinyokohama Park. Let’s prepare for the emergency. This year, as we’re with COVID-19, Japanese DRR offices recommend to pack additional things for your emergency backpack: face masks, medical thermometer, personal alcohol wipes, soaps, paper towels, disposable plastic gloves, garbage bags, water, comfy shoes, and portable toilet. For general info to prepare for natural disasters, please check my blog on February 28, 2020. Recently, Government of Japan decided to merge Hinankankoku 避難勧告 “Recommendation to evacuate” and Hinanshiji (Kinkyu) 避難指示（緊急）”Immediate evacuation order” as “Evacuation order.” They also say when you can find the place to evacuate without being in a crowded, say, school gym, please choose that place instead of mechanically go to the designated evacuation center. Your friend’s home may be safer when we consider the risk of COVID, isn’t it?

X-band radar the Ministry deploys
 next to the Tsurumi River Watershed Center.
 It is capable of spotting rapid beginning
 of small local rain cloud.
 The Ministry is expanding
 the nation-wide coverage of such towers.
 The rapid warning issued from the radar
 can be found from here 24/7.
 From this site,
 we can also download
 the smartphone app to receive the info.

When you find issues in Tsurumi River, please make a contact with

Tsurumi River Watershed Center 鶴見川流域センター

Phone: 045-475-1998

FAX: 045-475-1999

https://www.ktr.mlit.go.jp/keihin/keihin00490.html

 

Keihin River Office, Kanto Development Bureau

Ministry of Land, Infrastructure and Transport of Japan

国土交通省　関東地方整備局　京浜河川事務所

2-18-1 Tsurumi-chuoh, Tsurumi Ward, Yokohama, 230-0051

〒230-0051 神奈川県横浜市鶴見区鶴見中央2-18-1

Phone: 045-503-4000

Hide is Over Under New Normal: flowers of Snake Gourds in 2020

 

This summer, I’ve learned every plant has a so-so year, a poor-yield year, or a bumper year. The case in point: Japanese Snake Gourds (Trichosanthes cucumeroides) in Yokohama’s North Forests. They do have a bumper year in 2020. In August morning of Ikebuchi Hiroba Open Space いけぶち広場 for Niiharu Citizen Forest 新治市民の森, we found many, really many, shrunk white flowers of Snake Gourds spreading over the north slope. It maybe because we could not do enough mowing in spring due to the COVID lock down. Their heart-shaped green leaves are tangling with Bush Clover (Lespedeza bicolor), Skunkvine (Paederia foetida), or any other plant within their reach. It’s an impressive look. Not only in Niiharu, but also in the other parts of Yokohama’s North Forest, this year I have found lots of zesty Snake Gourds with numerous shriveled remnants of white flowers. Coming December, how many orange gourds can we find dangling in our forest?

Buds and remnants of flowers for Snake Gourds
 in Ikebuchi Hiroba Open Space

In my previous post (for August 31, 2018), I wrote not many people noticed lacy flower of Snake Gourds as they are open only after dark. In 2020, not any more. Thanks to COVID-19, lots of people avoiding 3C (= Closed Space, Close-contact Settings, Confined and Enclosed Spaces) have started to take a walk or jog in neighborhood parks or forests of Megalopolis Tokyo. In addition, this summer is damned hot so that some people venture out before sunrise or after sunset. Lots of white frilly flowers of Snake Gourds stood out in dark. Their flowers became topic of the Megacity. I have a mixed feeling for this. For one thing, it’s a good thing people have noticed delicate beauty of nature in our backyard. Though, before, it was a secret joy of mine admiring their one-night-only show for summer. 😶

This is a night scenery near my home in August 2020, along a busy commuter bus street.

Hmmm. The flower is certainly shrunk in the morning.

So, this year, I tried a bit of cheat. I brought a bud of Snake Gourds home from a forest and put it in a glass. I let it stand in a dark corner of my house … then it opened! It was beautiful. White five petals have elegant strings that make it so attractive. Its pollen tube is very long … 2-3cm from the lacy petals. The pollinator for Snake Gourds is big Hawkmoths that have long enough proboscis to drink honey at the end of the flowers’ long tube. It means, even in this urban environment, there are Hawkmoths that can produce many orange fruits of snake gourds in late autumn. Woooooooooow!

Alder hawkmoth (Mimas christophi) in Yadoriki 2019. That was a big bug (; my post on September 13, 2019). This size of moth is flying around in my neighborhood of Yokohama!

In Niiharu, the gourds are already growing. That big moths are flying around during night in Yokohama!

My secret pleasure

I made a bracelet with seeds of Snake Gourds. Can I harvest more seeds this autumn?

If you find a problem in the Forests of Yokohama, please make a contact with

Yokohama Municipal Government Creative Environment Policy Bureau 横浜市環境創造局
Phone: 045-671-2881
FAX: 045-641-3490
http://www.city.yokohama.lg.jp/kankyo/


If you find environmental issues in Kanagawa Prefecture, please make a contact with Kanagawa Natural Environment Conservation Center 神奈川県自然環境保全センター

657 Nanasawa, Atsugi City, 243-0121
〒243－0121　厚木市七沢657
Phone: 046-248-0323

You can send an enquiry to them by clicking the bottom line of their homepage at http://www.pref.kanagawa.jp/div/1644/

A Trailer: Laboratory of Forest Art 2020

 

This year, we had a very long monsoon season. It was unusually wet and even cold. Then, suddenly, when the calendar turned into August, we are thrown into sunny and damned hot summer. It seems to me the condition was perfect for Platypus quercivorus to establish colonies in old oak trees in Kanagawa Prefecture. The oaks, mainly Quercus serrata, that have been spared from the infection of the bugs before the rain are now blasted here and there. It’s the beginning of rapid spread of Japanese Oak Tree Wilt. I’ve heard in Togawa Park 神奈川県立秦野戸川公園 (; my post on February 14, 2020), the most popular entrance to Tanzawa mountains, decided to hire pros to cut lots of died oaks in order to prevent accident by diseased oaks falling over the hikers … Here in more urban Yokohama, many Quercus serrata have abruptly turned brown under bright sunshine. They are dying.

These two trees are dying side-by-side
 in a park near Niiharu …

We Niiharu Lovers are somehow sanguine about the situation. We last year found a tree on the popular road in Niiharu that was infected by the disease. The City cut it, and we have been, a sort of, waiting for the result. Now this. “Well, if we have not taken care of the forest for a long time and let the oaks to be bigger like now, the explosion of infectious disease has been a disaster in waiting.” Yes. If people have harvested fuel logs and used the tree for cultivating mushrooms, such thing could not happen. Platypus quercivorus are picky home buyers. They live only in large oaks. In the 1960s and onwards, the society chose the convenience of petrol-based activities. Traditional usage of Satoyama forest was forgotten. Oaks that were before coppiced every 15-20 years were abandoned and become formidable size. Bugs have found the large supply of the best property for their sweet home with thousands of babies per couple … The thing we can do now, apart from treating the infected trees, is to keep doing our voluntary work of forest management, isn’t it?

Niiharu’s infected trees … They looked OK in July …

Such unintended consequence of human activity is becoming undercurrent for this year’s Laboratory of Forest Art. For one thing, last year’s typhoons made great damages in the entire North Forests of Yokohama. It shocked the artists. I’ve heard the power of typhoon has been treated as the important element of 2020 exhibition since last fall. Next came COVID-19 pandemic, which put another constraint for their activities especially when they plan to have art workshops. Finally, at the end of monsoon the preparation of the 2020 show has started, and the oaks of their place started to dieback. The members of the Creation and Voice of the Woods 創造と森の声 are now digesting all of these things to be reflected in their new installation for coming September.

The forest for Laboratory of Forest Art is
 having lots of Japanese Oak Tree Wilt …

This is due to last year’s typhoons
 in their forest.

So, Laboratory of Forest Art 2020 is planned to be a bit different from the previous years. They do not have opening and closing parties, but present their work for a longer period of time, from September 6^th to October 18^th, via internet. One or two families will be allowed to join several workshops with RSVP at first-come-first-served base. Please check their HP here, and see the availability of workshop, videos about their activity, etc. The 2020 show will be from 27^th of September to October 18^th. We can just check internet, or go there and see how artists are coping with this new world’s situation in the forest. I hope, by then, at least this hot summer days are somehow ending …

Mr. Kazuo Ishikuro is in the forest for this year’s installation
 … His is a sort of shocking creature.
 Please stay tuned!

Mr. Youichiro Yoshikawa’s creation looks like this now.
 How will he treat it this year?

If you find a problem in the site introduced in this post, the best contact address will be GROUP the Creation and Voice of the Woods.

https://morilab.amebaownd.com/

e-mail: morinokoe7@yahoo.co.jp

The city office which is in charge of this forest is

Office for the Park Greeneries in the North 北部公園緑地事務所

Yokohama Municipal Government Creative Environment Policy Bureau 横浜市環境創造局

Phone: 045-311-2016

FAX: 045-316-8420