Ohara Museum of Art
Japan's first museum of Western art, built on paintings a Kurashiki industrialist sent his own painter to Europe to buy.
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Japan's first museum of Western art, built on paintings a Kurashiki industrialist sent his own painter to Europe to buy.
A shogunal depot town of white storehouses along a canal, its cables buried to keep the view.
In an Edo rice store on the same canal as the folk-craft museum, on the tomb culture of the Kibi region.
A merchant family enriched by salt and land reclamation, permitted a samurai-style gate their rank shows off.
The house of a salt-field magnate, its parlours and six storehouses surviving intact across a hectare.
One of Japan's few museums of the ancient Near East, grown from a local collector's gift.
Clad in black-lacquered boards and nicknamed the crow castle, on an irregular pentagonal base.
Two hipped-gable roofs joined side by side in a form found in only this one building, with a 360-metre corridor down the hill.
A ruined copper refinery turned museum without demolition, conditioned by sun and geothermal air alone.
On an island of some fifty people, Sejima scattered transparent pavilions so that walking becomes the exhibition.
Among the world's oldest schools built for commoners, roofed in Bizen tile and ringed by 765 metres of rounded stone wall.
The artworks were chosen first and the building designed around them - including a cylinder with Ryoanji's rock garden on its inner wall.
A merchants' quarter along the old Izumo highway, 1.2 kilometres of Edo and Meiji townhouses.
A copper and red-ochre town where every house is painted in the pigment it made, under matching red tiles.
Castle-scale stone walls raised on a mountainside to carry one house - copper and pigment money made visible.
The highest of Japan's twelve surviving keeps, its walls built straight onto the natural rock.
An early garden by Kobori Enshu, made in his twenties: clipped azalea as waves, stones as islands.
The only post town where both official inns survive as Important Cultural Properties, with the lords' rooms intact.
A five-storey pagoda standing alone in farmland, an Edo tower on a Nara temple site - two eras in one view.
One dyer suggested each house hang its own curtain; a preservation district gained a layer of colour.
A cotton and salt port, with the temple where the monk Ryokan trained on the hill above it.
A fan-shaped locomotive shed and turntable kept working - industrial geometry left legible.