Hirosaki Museum of Contemporary Art
A Meiji cider factory turned contemporary art museum, on the site of three Yoshitomo Nara exhibitions, converted so the building keeps its memory.
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A Meiji cider factory turned contemporary art museum, on the site of three Yoshitomo Nara exhibitions, converted so the building keeps its memory.
Kunio Maekawa, central to Japanese modernism, left eight buildings in his mother's home town - his first and last work within one walk.
Kogin stitching filled scarce hemp cloth with cotton thread; the workshop still does it by hand, inside Maekawa's very first building.
A three-storey timber library with octagonal towers at both corners - a provincial master carpenter's reading of Western architecture.
A former bank, Western outside and finished in Tsugaru lacquer and plaster within - the mixture is the point.
An Anglican church whose brick spire stands out sharply among the town's timber Western buildings.
A timber Gothic church holding a 19th-century altar given to it by a church in Amsterdam.
A businessman's villa using the drop of a cliff to hold two different gardens, with Mt Iwaki borrowed as the backdrop.
A Maekawa building inside the castle park, holding the domain's armour and the lacquerware the domain itself fostered.
Festival floats shown beside working demonstrations of lacquer, kogin stitching and goldfish lanterns, close enough to question the makers.
A hall for gathering comes before the galleries here - a design argument that won the Architectural Institute of Japan prize.
Holds the National Treasure clay figure with its hands pressed together, and lacquer work showing how far Jomon craft had gone.
Two 13th-century suits of armour, both National Treasures; the red-laced one is among the most ornamented to survive anywhere.
On the site of a medieval fortress, with the extravagant hats of the Enburi harvest rite as its most striking objects.
Built as a gateway to the city in a former department store, showing its food stalls and back alleys through people rather than displays.
Each artwork gets its own white box, linked by glass corridors; the works spill outdoors until the whole street is the exhibition.
A public square opposite the museum, with no fence and no ticket, where children walk to school between the sculptures.
For the theatre and film provocateur Shuji Terayama; documents emerge from giant desks and drawers, so the museum is itself a staging.
A Surrealist-inflected painter from this town, shown beside the collection of lamps from around the world he assembled.
Unglazed stoneware coloured only by wood ash, using local clay and earth dug from a former reservoir.
Where the goggle-eyed clay figure was found; the domain prized pots turned up here as early as the 1600s.
Finds from the Kamegaoka site shown locally, and evidence of how elaborate late Jomon vessels had become.
Wooden arcades built out over the street against snow, surviving as they were in the Edo period.