from the perspective of those who lived inside.” Miyamoto has used exhibitions to convey the material dimensions of the pinhole house to viewers. In an exhibition at Akiyama Gallery in Tokyo in 2000, he constructed six pinhole houses and displayed the photographs inside the structures as they would have appeared at the time of their creation. KOBE 1995 After The Earthquake In the first few days after the Great Hanshin-Awaji earthquake, Miyamoto was encouraged by an acquaintance in publishing, Suzuki Akira, to journey to the disaster zone and photograph the city of Kobe. The center of the city is where the greatest loss of life, buildings and infrastructure occurred. Miyamoto visited Kobe ten days after the earthquake struck. As Miyamoto quickly realized, these ruins were not the same material that he had dealt with at demolition sites :Determined to maintain his photographic style even in the face of a disaster area, he employed the same methods that he had used to photograph demolition sites, cardboard houses, and Kowloon. He traversed the city with a large-format 4x5 camera and set up his tripod to photograph the exteriors of buildings, streets filled with debris, and overturned trains in an attempt to create a “total survey” (maru de sokuryō) of the disaster. If ruins in various forms are the theme of KOBE 1995, the photographs are organized in several typologies : major public buildings, main department stores (Chuo and Sannomiya districts), backstreets (Sannomiya), railways, residential areas (Nagata, Suma, Nada). The final photograph is a two-page spread of a temporary refugee housing. According to Miyamoto, just one year after the earthquake Kobe “had really been cleaned up and any traces of the disaster were miraculously gone.” For him, “This is the power of photographs – that you can still try and convey what it was like to people who did not have direct contact with the scene.” The ruins of Miyamoto’s photographs worked in conjunction with other media representations to serve simultaneously as a symbol of the fractured lives of survivors, as a source for the critique of productivist narratives of recovery, and as guidance for future conceptions of the city. Miyamoto's photographs of Kobe were exhibited in the Japan Pavilion at the Sixth Venice Biennale of Architecture in 1996, entitled Fractures with Arata Isozaki as curator and Katsuhiro Miyamoto and Osamu Ishiyama as architects-scenographers. For this "work of memory", carried out after the