Nakahara Teijiro Memorial Asahikawa Museum of Sculpture
The sculpture of Teijiro Nakahara, dead young, shown in a 1902 army officers' club that is itself an Important Cultural Property.
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The sculpture of Teijiro Nakahara, dead young, shown in a 1902 army officers' club that is itself an Important Cultural Property.
Four historic banks and warehouses turned into one museum complex; the stained glass came from English churches.
In a brick-making town: exhibitions of ceramics beside a workshop where visitors handle the clay themselves.
Its galleries imitate the walls of an excavation trench; it holds three of the four vast backdrops Chagall painted for the ballet Aleko.
A residency where artists come to make work, wrapped by a long concrete arc that Tadao Ando drew through the forest.
A Meiji cider factory turned contemporary art museum, on the site of three Yoshitomo Nara exhibitions, converted so the building keeps its memory.
A hall for gathering comes before the galleries here - a design argument that won the Architectural Institute of Japan prize.
Each artwork gets its own white box, linked by glass corridors; the works spill outdoors until the whole street is the exhibition.
The ancient seat of government in the north, keeping one of Japan's three oldest inscribed stones.
Built by Tadao Ando to house Foujita's single 20-metre mural of Akita's festivals.
Japan's first museum for a single photographer, with a garden by Isamu Noguchi and architecture by Yoshio Taniguchi.
The villa of the Homma family, once Japan's greatest landowners, its garden borrowing Mt Chokai.
Arata Isozaki's twisting tetrahedral tower marks a centre that treats art, music and theatre as equals.
Where Okakura Tenshin moved his art academy; the misty new Nihonga style was born on this coast.
Each room is named for a plant and painted to match; the doors were restored after wartime fire.
The heart of Nikko's mountain worship, keeping a National Treasure sword in its treasury.
Called Japan's oldest school, keeping National Treasure Chinese classics and a Confucian hall.
Three 200-year-old earthen storehouses turned into galleries, exhibiting under their original beams.
Geometric lattices assembled without a single nail, a trade descended from the Toshogu craftsmen.
Nineteenth-century English stained glass reinstalled in purpose-built stone chapels.
A rice merchant's storehouse and residence converted into galleries, the buildings themselves listed.
Arata Isozaki built it from pure cubic grids - a museum that asks in form what a museum is.
In its grounds stands a copy of Antonin Raymond's own house - a key example of Japanese modernist domestic architecture.