Naoshima Bath I Love Yu
A working public bath plastered with the artist's collected signage and tile - an artwork the islanders wash in.
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A working public bath plastered with the artist's collected signage and tile - an artwork the islanders wash in.
A columnless concrete shell shaped like a water drop; water seeps from the floor and moves through the day - work and building indistinguishable.
An old house rebuilt with red glass in the garden so the whole site reads red, and a mirrored tower at its edge.
Noguchi's studio and stone yard kept exactly as he left them - finished and unfinished works standing side by side.
It takes the mountain behind it into the garden; its pines have been shaped by hand, tree by tree, for three centuries.
Its moat is filled with seawater and swum by sea bream - one of three castles in Japan built directly on the sea.
Thirty-three houses moved from across Shikoku, with an unusual concentration of working buildings - soy sheds, sugar mills.
The smallest of Japan's surviving keeps on its tallest stone walls - four tiers curving up like an opened fan.
A daimyo garden whose pond copies the eight views of Lake Biwa, centred on a 600-year-old pine trained flat.
Seven hundred and eighty-five steps to the main hall, and rooms painted by Maruyama Okyo at the top of them.
Japan's oldest surviving playhouse; its revolve and traps are still turned by men working under the stage.
A port enriched by soy sauce and sugar, its white storehouses and merchant homes now open to visitors.
Thatched stages built by island villages themselves, with the sloping shrine ground serving as the seating.
Over twenty breweries still using wooden vats, their walls blackened by the fermenting culture itself.
Two festival islands where the works scatter through hillside hamlets and the lanes become the route.
An island of famous ship and temple carpenters; the houses they built for themselves still stand.
Kukai is said to have repaired this reservoir in three months, curving the dam into an arch to take the water's push.
Tange translated the timber tradition into reinforced concrete here; the stacked slabs read as wooden eaves.
A village of charred-cedar walls, uniformly black; the art houses are set inside that fabric.
Two and a half kilometres of covered street, its crossings domed in glass - a roof designed for a city.
One of twelve surviving keeps, ringed by lesser towers and defended by stone walls climbing the slope itself.
A working public bath that is also an Important Cultural Property, extended so often that its interior became a maze.