Niigata City Art Museum
A late work by Kunio Maekawa, its tiled walls kept low along the edge of the park.
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A late work by Kunio Maekawa, its tiled walls kept low along the edge of the park.
The estate of Echigo's greatest landlord: over a hundred rooms on three hectares, with a hall spanned by single cedar beams.
A merchant's villa built into a dune; the garden came first, and the rooms were placed to look at it.
Keeps the only surviving customs house of Japan's five treaty ports, built at the end of the shogunate.
One of the world's largest rural art festivals: 760 square kilometres of farmland, where finding the works means touring the hamlets.
Hiroshi Hara's cloister of galleries around a square pool, the building working as a frame for the art.
A raised building for looking at rice terraces; Kabakov's figures stand in the real field, overlaying poem on landscape.
An existing tunnel remade as an artwork; a film of water on the floor doubles the gorge in perfect symmetry.
A castle-town street of living merchant houses; each spring the families set out their inherited dolls, turning homes into galleries.
For a Nihonga painter who reduced everything to line; his house and studio by Isoya Yoshida stand restored beside it.
Householders gave up their own frontage to roof a continuous walkway - 16 kilometres of it, the longest in Japan.
A mountain split in two by hand; the mine that backed Edo's gold currency, now a World Heritage industrial landscape.
Over thirty Noh stages survive on this island - a third of all those left in Japan, one to a village.
A village on the dunes, where the direction of every house and windbreak still follows the old rule.
Its turret roof is T-shaped and carries three shachi finials - the only such example in Japan.
A port of call for the Kitamae trading ships, keeping its highway townhouses and its beachfront market.