Enoura Observatory
Hiroshi Sugimoto's entire site as one work: a 100-metre gallery and a tunnel aimed exactly at the solstice sunrises.
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Hiroshi Sugimoto's entire site as one work: a 100-metre gallery and a tunnel aimed exactly at the solstice sunrises.
The villa and tea house of the utilities magnate Matsunaga, its sukiya detailing intact with the garden.
One of Japan's oldest resort hotels: temple roofs over Western interiors, each room named and carved for a flower.
A double shell of glass and steel punched with circles, so the sea is visible from almost anywhere inside.
The painter's house, its studio designed by Isoya Yoshida with light arranged entirely for the work.
Rebuilt from drawings after a fire; Isoya Yoshida's sukiya architecture, seen as the stage of postwar politics.
A seaside town where Meiji statesmen built rival villas, each composed around the relation of garden to sea.
A low white pavilion on the original pier, where art is met in the middle of the harbour rather than in a sealed room.
Where Japan's first Protestant church was raised; the foreign settlement's grid still shapes the streets.
Among Japan's most visited temples, with a rare octagonal pagoda and an approach ringing with candy-cutters' knives.
A checkpoint rebuilt in timber from excavation and old drawings, beside the paved and cedar-lined Tokaido.
Fishing hamlets pressed against wave-cut rock platforms - terrain and livelihood in direct contact.
A literature archive rich in book design and illustration - as much about the made book as the text.
Nine kilometres of earthworks once enclosed the entire town - the scale of a medieval fortress, still walkable.
A late work by Kunio Maekawa, its tiled walls kept low along the edge of the park.
The estate of Echigo's greatest landlord: over a hundred rooms on three hectares, with a hall spanned by single cedar beams.
A merchant's villa built into a dune; the garden came first, and the rooms were placed to look at it.
Keeps the only surviving customs house of Japan's five treaty ports, built at the end of the shogunate.
One of the world's largest rural art festivals: 760 square kilometres of farmland, where finding the works means touring the hamlets.
Hiroshi Hara's cloister of galleries around a square pool, the building working as a frame for the art.
A raised building for looking at rice terraces; Kabakov's figures stand in the real field, overlaying poem on landscape.
An existing tunnel remade as an artwork; a film of water on the floor doubles the gorge in perfect symmetry.
A castle-town street of living merchant houses; each spring the families set out their inherited dolls, turning homes into galleries.