Two-Tier Udatsu of Sadamitsu
Firewalls stacked in two tiers - a form found in this town alone, sometimes coloured in the plaster.
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Firewalls stacked in two tiers - a form found in this town alone, sometimes coloured in the plaster.
A suspension bridge woven from mountain vine and rebuilt entirely every three years, so the skill can never lapse.
Houses and fields stacked up a slope so steep that top and bottom differ by 390 metres in altitude.
Built from windows and doors salvaged across the town, and laid out in plan as a question mark.
Museum, gallery, library and archive gathered on one hill, connected by walking rather than corridors.
The start of a 1,400-kilometre pilgrimage, where the white robe, sedge hat and staff are first assembled.
Whirlpools twenty metres across, appearing twice a day; a walkway slung under the bridge shows them through a glass floor.
The storehouses of the indigo traders, built to hold the temperature and damp the fermentation needs.
A thatched house bought and restored by Alex Kerr, and the model case for reviving abandoned mountain homes.
A lighthouse on the easternmost point of Shikoku - reef and tower, and nothing else in the frame.
Houses ringed with stone against wind and wave, the whole hamlet built almost as one structure.
Cedar planted on precipitous slopes and hauled out by sledge; its tight rings go into buildings and barrels.
A greenish schist that splits into flat slabs, shipped nationwide for gardens and stone monuments.
Stretches were deliberately left unbanked to let floods pass - villages and fields laid out on the assumption of inundation.
A town laid out along its rivers, with landing stages behind the storehouses.
Artist residencies opened the door to migrants and satellite offices - cultural policy that changed a village's demography.
Blue schist set upright in ranks - an unusually forceful dry garden of the Momoyama period.
The house behind a famous puppet play, now performing it daily so the handling can be watched at close range.
Eighty-eight temples over 1,400 kilometres, with stone markers turning the distance itself into structure.
Buried entirely underground to spare the island's skyline, showing three artists only, and lit by daylight alone.
A museum you can sleep in; artists chose their own sites here and made the works for those places.
Empty houses and a shrine in a working village turned into artworks, with residents themselves acting as guides.
For an artist who works only in stone and steel plate, half-buried in a valley between hill and sea.