Museum of Kyoto
Its annex is Tatsuno's former Bank of Japan branch, red brick banded in white stone, still on Sanjo street.
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Its annex is Tatsuno's former Bank of Japan branch, red brick banded in white stone, still on Sanjo street.
A narrow Gion building used vertically, with a light court on the top floor as the only place the sky appears.
Tea utensils rearranged to the season's gathering, beside a modern sukiya house of the first rank.
Japan's first private museum of Chinese art, under an octagonal pavilion roof by Goichi Takeda.
The potter designed his own house; wheel, kiln and furniture remain exactly as they were, work and life undivided.
Subject matter and ceiling height change with each room's rank, and every painting is composed for the shogun's own seat.
A 120-metre hall holding 1,001 life-size Kannon; 124 survive from the 1100s, and no two faces are the same.
Fifteen stones on 75 square metres of gravel, placed so that from any viewpoint one is always hidden.
Twenty sub-temples bound up with the tea ceremony; many National Treasure tea rooms and dry gardens are still kept closed to the public.
Shigemori Mirei laid gardens on all four sides; the checkerboard of moss and stone brought modern design into the dry garden.
A brick aqueduct runs through a Zen precinct - built after long argument, its design adjusted to sit with the temple.
The height of Momoyama building; its gate is nicknamed the sunset gate, because one loses the day looking at the carvings.
Laid out by Muso Soseki and barely altered in 700 years, taking the mountains behind it into the garden itself.
Three pavilions set diagonally so every room sees a different garden; Bruno Taut's account of it changed how the world read Japanese architecture.
Three gardens up a hillside with working farmland kept between them, and a tea house at the top open to the whole basin.