City so that he could capture birds-eye-views of the fortification. He published his first photobook on Kowloon Walled City in 1988, at Atelier Peyotl. When eventually its demolition was completed in 1994, Kowloon Walled City no longer existed as a reality. Miyamoto’s photographs continue to be an effective resource in its documentation; hence, the republication of the Kowloon Walled City photobook in 1997, 2009, and again in 2017. Cardboard Houses Alongside with Miyamoto's project on Kowloon Walled City, the Cardboard Houses project is another instance of what he calls “handmade architecture” (tezukuri kenchiku). After his own first sighting of cardboard houses in 1983, under a bridge near the Tsukiji fish market in Tokyo, Miyamoto began to photograph the so-called "homeless" houses, that have sprung up around Tokyo and in major Japanese cities. He defined these cardboard houses as archetypal human dwellings, made by "hunter-gathers" of the contemporary city :In 1990, he exhibited a work entitled “Tokyo’s Cardboard Houses” (Tokyo no danbōru no ie) in the group show “TOKYO,” organized by Itō Toshiharu at the Yurakuchō Seibu Art Forum. For the show, he compiled nearly 1-ton of cardboard to create four square mounds to which he attached his photographs of cardboard houses. Miyamoto continued photographing the homes of the homeless for another nine years, and, in 2003, he published the images in a photobook plainly titled Cardboard Houses. The photographs presented in the book are from several surveys, in different regions of the world and photographed over several years: Tokyo (1983, 1984, 1988, 1994, 1995, 1996), New York (1991), Hong Kong (1993), Kawasaki (1994), Osaka (1994), London (1994) and Paris (1995). In light of Miyamoto’s simultaneous engagement with “temporary ruins” at demolition sites, many art critics and curators in Japan have been quick to drawn a connection between the cardboard houses and ruined landscapes. Sakai Tadayasu suggests that cardboard houses actually “begin their life as ‘ruins’,” while Hayashi Yōji calls them “the ruins of consumer culture.” Inspired by his encounters with cardboard houses, in 2000, Miyamoto created his own small wooden box – a pinhole house (pinhōru no ie) – from which to view and photograph the urbanscape :When he first began using the pinhole house to create photographs, Miyamoto went to places where he had seen cardboard houses, such as Shinjuku and Akihabara in the middle of Tokyo. He “wanted to see those places from the perspective of the house,