21st Century Museum of Contemporary Art, Kanazawa
A circular glass building with no front or back; large free zones let people cross through as if it were a park.
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A circular glass building with no front or back; large free zones let people cross through as if it were a park.
For the man who explained Zen to the West; almost nothing is displayed - the water court and silent room are the exhibit.
Three Meiji brick arsenals in a row on a wooded hill, all Important Cultural Properties.
A lord built it for his mother; one room's ceiling is painted in imported ultramarine, a luxury of pure colour.
Teahouse buildings raise their upper floors for the guest rooms; fine red lattices align the whole street.
Three-storey teahouses along the river, with narrow lanes dropping to the water.
Earthen walls line the samurai quarter, wrapped in straw mats each winter - protection that becomes a seasonal sight.
A three-tier gate mixing Japanese, Chinese and Western elements, topped with Dutch stained glass.
Roofed in lead tiles that weather white; one turret is built on a rhombus plan to widen its field of view.
Once called Japan's richest village; the shipowners fenced their houses with old hull planks under red tiles.
Where a young Rosanjin lodged and met the Kutani potters and lacquerers who shaped everything he made later.
The merchant street of old Noto, its townhouses still trading, each shopfront designed differently.
Once the head temple of Soto Zen; rebuilt after fire and earthquake, its cloisters still bind the halls together.
Japan's last agehama salt fields, where seawater is carried by bucket and scattered over sand by hand.
Behind the halls lies a primeval wood no one may enter - preserved precisely by being left alone.
Three-storey farmhouses in a deep-snow village, their height built for silkworm rearing.
Tadao Ando cut a long stair up the hill so that the climb itself stands for the act of thinking.
A Meiji bathhouse rebuilt from its original drawings, tiled in Kutani ware and glazed with stained glass.
Guest rooms painted in ultramarine and red ochre - colour permitted only in the pleasure quarters of a samurai town.
Stacked geometric volumes laid out by feng shui, standing on an island hill.
A seaside spa whose inns use Wajima lacquer and Kaga yuzen indoors, putting the region's crafts inside the architecture.