such as cinemas, breweries, department stores, and the remnants of international expos. Hayashi describes these buildings as “significant gathering places for the masses in the modern city, spaces of pleasure where they enjoyed themselves while dreaming utopian dreams.” In 1988, Miyamoto compiled his images of “temporary ruins” into a photobook provocatively entitled Kenchiku no mokushiroku (Architectural Apocalypse). In 1988, Miyamoto received the Kimura Ihei Award for Architectural Apocalypse, and since 1986 these photographs have been featured in more than fifty individual and group exhibitions. The images were published in architectural journals such as SD (Space + Design), Toshi Jūtaku, and Shitsunai at the same time that they were appearing in the journals Asahi Graph and Bijutsu Techō. The photobook was republished in 2003 with additional images, and it was a centerpiece of Miyamoto’s 2004 retrospective exhibition at the Setagaya Art Museum in Tokyo. Kowloon Walled City In 1973, Miyamoto and the editorial staff of the Toshi Jūtaku conducted a survey on the construction of Motomachi High-Rise Apartments. Miyamoto was marked on this occasion by the poor housing area of Motomachi - known as the "genbaku slum" - a consequence of the temporary barracks construction after the 1945 atomic bomb. Miyamoto describes working on projects such as this as a revelatory time in his early career: “It was the first time I looked at and paid attention to certain things, such as housing and architecture and different ways of living.” On January 14, 1987, the government of Hong Kong made the official announcement that Kowloon Walled City, the notorious 2.7-hectare slum on Kowloon Island, would be demolished and the land turned into a park before the sovereignty of the territory will be transferred to China. Miyamoto decided to visit Hong Kong in May of that year. He spent his first day photographing only the exterior of the Walled City. On his second day, Miyamoto hired a local guide and entered the city.Most of the photographs that Miyamoto initially published of Kowloon are made up of these alleyways, revealing perspectives and sightlines that are continually cut off by the circuitous routes that delineate the Walled City. He also photographed the conglomeration of cramped apartments, the illegal cages terraces, signboards, dentists offices and the informal networks of cables and pipes. When Miyamoto returned to photograph Kowloon again in the fall of 1987, he paid for a helicopter to take him above the Walled