Shugakuin Imperial Villa
Three gardens up a hillside with working farmland kept between them, and a tea house at the top open to the whole basin.
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Three gardens up a hillside with working farmland kept between them, and a tea house at the top open to the whole basin.
Rebuilt in the 1850s but researched back to Heian precedent, down to the subjects of its wall paintings.
The only tea room reliably by Sen no Rikyu: two mats, and the first entrance so low that everyone must stoop.
Tadao Ando buried a concrete cylinder beside a Taisho English villa; Monet's water lilies hang inside the circle.
Buried almost entirely underground so as not to disturb the Phoenix Hall's setting, with the bodhisattvas seeming to float off the wall.
Kamakura-period Buddhas carved into roadside rock; the walk from temple to temple is itself the gallery.
The only surviving ageya of the Shimabara quarter, with a ceiling papered in fans and a room inlaid with shell.
Called a moving museum: Persian and Flemish textiles imported in the 1500s still hang on the floats every July.
Masterpieces fired onto ceramic panels and set outdoors; Ando's ramps make you look down on some and up at others.
A vast glass structure dropped into a historic city, with a 171-metre atrium and a stair climbing to the roof - fiercely contested when built.
A 1931 elementary school turned over to artists; the classrooms are the studios.
Silk hard-twisted then shrunk in hot water to raise its crinkled surface; most of Japan's undyed kimono cloth is woven here.
Most of the village is still thatched, and the rethatching is still done by the villagers together.
Twelve naval warehouses surviving together - a military complex preserved as an ensemble of brickwork.
Fields shaded with reed screens and straw before harvest to sweeten the leaf - the covers themselves a seasonal sight.
Head, hair, limbs and costume are each made by a different specialist - the division of labour on which nearly all Kyoto craft runs.
With every sect's head temple in one city, demand never stopped; more than ten trades touch a single altar.
The garden that shows water without using any was perfected in Kyoto's Zen temples - mountain, river and sea in stone alone.
On the site of the Sumitomo residence, with holdings of Chinese painting and stone Buddhas among the best in Japan.
Forty years from conception to opening; a black box hollowed out at its centre, with the galleries hung in the void.
Every gallery is underground; above ground stands only a steel facade, the building itself invisible.