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The article features the Suntory Museum of Art, designed by Kengo Kuma, at the Tokyo Midtown complex in Tokyo, Japan. From the main gallery, visitors descend a glass-encased stair to the third-floor atrium. Museum offices and storage fill the fifth floor, while the sixth floor holds a conference hall opening onto an outdoor deck, a members' club, and an informal tea-ceremony room.

The article focuses on the residential design of Shigeru Ban's Picture Window House in Izu Peninsula, Japan. It is a 2,950-square-foot structure consisting of two glass membranes anchored by metal wall panels at either end. The main room combining kitchen, living, and dining areas opens directly onto a porch overlooking the water. A corridor that doubles as a bathroom gives access to a storage area and four bedrooms. The house's skin derives most of its uniqueness from a system of sliding doors.

The article presents an interview with Japanese architect Shigeru Ban. Ban discusses his work with disaster-stricken areas, how he selects which disaster-torn area to work with, and what inspired him to take on relief work. Ban also discusses his work with nongovernmental organizations and offers advice to architects who wish to become involved with relief efforts.

Several stellar Japanese architects recently converged on Manhattan, New York, for a symposium at the Japan Society called "Technology and Tradition in Contemporary Japanese Architecture," co-organized by the periodical "Architectural Record." The conference was launched with a lecture by Fumihiko Maki, recently appointed architect for a new United Nations building and a tower at Ground Zero. The focus then passed to younger architects, including Ware Kishi , Kengo Kuma, and the ebullient Jun Aoki. Aoki, Shigeru Ban and Kazuyo Sejima are rising architects. Each has built or is about to build in Manhattan: Aoki's work for Vuitton on Fifth Avenue, Ban's Paper Arch at the Museum of Modern Art in 2000, and Sejima's New Museum envisaged for the Bowery.

Features the Naked House designed by Shigeru Ban Architects in Saitama, Japan. Fixed elements; Communal storage areas for clothes and other personal possessions; Materials and their suppliers; Floor plan; Architects and engineers.

Features the AM House in the Fukuoka, Prefecture in Japan. Building as comprising of a combined artist's gallery and studio. Design of the house by Mariko Tamura; Rooftop structurers.

The article describes the architectural design of the Keio University Library in Tokyo, Japan. The project was designed by architectural firm Maki and Associates. The paper provides relevant architectural drawings, floor plans and photographs of the different parts of the building. Other parties involved in designing the project are also listed.

The article presents information on the 2005 World Exposition, an exhibition on architecture that is being held in Aichi, Japan. The fair, which is one of the twice-a-decade world exhibitions sanctioned by the Paris-based Bureau of International Expositions, runs through September 25 on a park like site east of Nagoya, the industrial city between Tokyo and Osaka. The Expo has attracted more than seven million visitors in its first twelve weeks. Inside the fairgrounds, it's impossible to avoid being educated about alternative energy sources, green-building methods, and extreme recycling.

The article reports on the design and construction of shelters for victims of the March 11, 2011 earthquake and tsunami in Japan. It examines the work of Japanese architect Shigeru Ban in designing shelters that included privacy and temporary homes for the victims. Topics include financing for the project, aid from architecture students from Tokyo, Japan, and Ban's commitment to persuading the Japanese government that such structures are necessary.

The article presents a sketch by architect Kinya Maruyama, a Japan-based architect who uses a blank book to sketch the buildings he visits and record design ideas. The sketch is one of his meals at a local restaurant which dated June 2006, alongside the sketch of the pit dwelling site in Utsunomiya. Maruyama says that sketching food is much like documenting buildings, when it is prepared with good materials, the presentation will also be well done.

The article focuses on the interior design of the Ginzan Onsen Fujiya hotel in Obanazawa, Japan by architectural firm Kengo Kuma & Associates. The architect reassembled the existing building using old and new wood members. The reception space of the new hotel is a two-story-high atrium fitted with modern tables, chairs and sofas. It notes that 1.2 million strips of bamboo were used for the screen and dividers.

With its folded jewel-box form wrapped in exotic glass panels, Herzog & de Meuron's Prada Aoyama Tokyo, Japan building takes the ancient Japanese art of packaging into the 21st century. The building's transparent, crystalline form contrasts with its heavier, more rectilinear neighbors and seems to imply both a geological permanence and the effervescence of an architectural bubble. After being hired by Prada in 1998 and visiting the site in Tokyo, Herzog & de Meuron decided to treat the project as "a house and a plaza" inserted within the dense but relatively low-scale fabric of Aoyama, an older commercial district that has seen a resurgence in popularity in recent years.

The article discusses the architecture firm Uufie, which was founded in 2009 by Irene Gardpoit and Eiri Ota. Particular focus is given to their work on commissions in locations including Japan and Ontario. Additional topics discussed include their work with consultants including textile designer Yoko Ando and lighting designer Izumi Okayasu, and their work on an artistic piece called Wa-Wa after the Japanese concept of Wa, which connotes a peaceful unity.

The article looks at Hironaka Ogawa & Associates, an architecture firm led by architect Hironaka Ogawa and based in Tokyo, Japan. Particular focus is given to the rural and nature-inspired elements of the firm's designs. Details on his work on the facade of a Tokyo, Japan restaurant which combined acrylic panels and lights with traditional mud brick are presented. Other topics include the firm's offices and a house designed by the firm.

Tokyo, Japan-based architect George Dasic has designed three light-filled offices for Western companies in Tokyo. Born in Belgrade, in the former Yugoslavia, and educated at the Architectural Association in London, Dasic began his career working on large office projects in the U.K. Based in Japan since 1991, the architect first worked with local architects for Japanese corporate clients.“Financial institutions, with their trading floors and massive communications and equipment requirements, provide the perfect ground for developing an architectural language built around negotiating complex layers created by organizational hierarchies,”At the offices of Deutsche Bank in central Tokyo, canted corridor walls of stone are juxtaposed with transparent glass panels to generate a feeling of what Dasic calls“suspended motion.