Samegai-juku
A spring-fed stream runs before every house on the old highway, its underwater flowers marking the water's purity.
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A spring-fed stream runs before every house on the old highway, its underwater flowers marking the water's purity.
Spring water piped into each kitchen and used in strict order - drinking, washing, then carp - the plan of the house set by water.
Windows cut into garden walls so the family could watch the festival floats - a whole town designed as seating.
The valley they dug clay from and the hills they grow tea on lie side by side - two industries in one terrain.
Serving the demand of Mt Hiei and Kyoto, workshops here still handle single stages of the trade.
Armourers turned to altars in peacetime; seven separate trades now build each one.
Spread nationwide after an imperial visit; each of the eight things the badger carries stands for a virtue.
Reed beds between lake and land; the cut reeds become blinds and roofs, tying landscape directly to craft.
The cabinets that house the Kannon images survive village by village - the container itself a work of craft.
On the trading method of the Omi merchants, read through their ledgers and the poles they carried goods on.
An Edo farmhouse moved into its grounds, alongside the Buddhist images the surrounding villages kept.
Townhouses along the outer moat, their eaves and wall colours realigned in recent years to recover the Edo scale.
Lakeside reeds cut and woven into screens and thatch - wetland management and craft as a single job.
Floats decorated with merchant money, some hung with textiles brought from overseas.
Bamboo weirs driven into the lake bed draw geometric lines across the water - a fishing method become a landscape.
The central repository for what Kyoto's temples and shrines have handed down, in Katayama's French Baroque halls.
Japan's oldest surviving public art museum building, updated by digging the ground away and sliding a glass entrance beneath it.
Treats craft as the equal of fine art; Fumihiko Maki's building sits quietly between a canal and a giant torii.
Three generations of collecting Rinpa and Jakuchu, in a building that descends underground away from the street.
Holds what Shokokuji and its sub-temples Kinkakuji and Ginkakuji kept, including Jakuchu's ink panels for the Golden Pavilion.
Its annex is Tatsuno's former Bank of Japan branch, red brick banded in white stone, still on Sanjo street.
Traces Buddhism's route from India to Japan, and rebuilds the lost Bezeklik cave murals at full size.
Shang and Zhou bronzes of a quality rarely found outside China, displayed close enough to read the casting.
A narrow Gion building used vertically, with a light court on the top floor as the only place the sky appears.