Kobayashi Kokei Memorial Museum of Art
For a Nihonga painter who reduced everything to line; his house and studio by Isoya Yoshida stand restored beside it.
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For a Nihonga painter who reduced everything to line; his house and studio by Isoya Yoshida stand restored beside it.
Householders gave up their own frontage to roof a continuous walkway - 16 kilometres of it, the longest in Japan.
A mountain split in two by hand; the mine that backed Edo's gold currency, now a World Heritage industrial landscape.
Over thirty Noh stages survive on this island - a third of all those left in Japan, one to a village.
A village on the dunes, where the direction of every house and windbreak still follows the old rule.
Its turret roof is T-shaped and carries three shachi finials - the only such example in Japan.
A port of call for the Kitamae trading ships, keeping its highway townhouses and its beachfront market.
Art and design treated as equals, with a vast poster collection and a rooftop playground facing the Tateyama range.
A rare public museum devoted to ink painting alone, its low sukiya-like building shaping how the works are seen.
Shares a building with the library; Kengo Kuma's six-storey void is lined with local timber set on the slant.
A Kitamae shipping port whose main street still holds its merchant houses, the Mori residence among them.
Dancers hide their faces under deep sedge hats and move through a hillside town all night - dance and streets inseparable.
The casters' quarter, its lattice fronts unbroken and its pavements inlaid with the town's own bronze.
Rebuilt in fireproof earthen construction after a great fire, its black plaster fronts hung with cast bronze signs.
Taught by Kyoto carvers who came to rebuild the temple; the street is still lined with workshops using 200 kinds of chisel.
Thatched roofs pitched at 60 degrees to shed snow, framed without nails and tied with rope; a World Heritage village.
Munakata lived here for nearly seven years and painted directly onto the walls - even the lavatory - making the house itself the work.
Farmhouses stand singly in the fields, each ringed by its own windbreak - a whole plain stippled in green.
A 1926 hydroelectric plant turned gallery, keeping its penstocks and turbine beds; artists make work for that space.
Women barred from the sacred peak crossed a bridge laid with white cloth instead; the revived procession is itself a form.
Built during recovery from wartime bombing, one of a cluster of postwar modernist civic buildings.