Fields of floating paper hiraganas hang to create colorful screens and passageways in this spectacular work of installation art. Designed by Emmanuelle Moureaux, it is part of a larger 100 Colors series exploring a whole spectrum of intimate and thoughtful spaces.

The opening of the exhibit coincided with Tanabata Day, a Japanese star festival during which people traditionally write down their hopes and dreams on pieces of paper then suspend these from bamboo branches.

The result is a peaceful place made up over of 140,00 paper cutouts, draped from the ceiling to create rainbow passages and aligned to create opportunities for connection as well as isolation throughout the artwork. From some perspectives, the entire spectrum is visible, while in other places, a single color dominates.

It started on a cold and snowy night when a wandering Japanese photographer became fascinated by the way the white flakes were piling up on an ordinary vending machine on the side of a road.

Eiji Ohashi began to document these machines, set against the rural backdrops and natural landscapes of Japan, a country with the highest ratio of vending machines to humans in the world (1 to 23).

For Ohashi and others, these devices are symbols of warmth and light in the long dark winters of Hokkaido, Japan’s cold north island. They offer hot drinks to offset the nighttime chill.

Japan’s famously low crime rate likely contributes to this vending machine culture as well, helping them to survive free of destruction or vandalism even in remote areas.

Indeed, they stand out as bright and modern in many contexts. Ohashi frames his curious subjects expertly against ancient architecture, vernacular structures, scenic mountains and vast bodies of still water.

Japanese makers of minimalist household goods and apparel at MUJI began designing and developing a series of small prefab homes a few years back, one of which is now slated to hit the market later this year.

At just under 100 square feet, the first model to hit the sales floor is a simple but elegant module wrapped in charred timber with floor-to-ceiling fenestration on one side. This traditional blackened-wood cladding technique helps finish the wood, protecting it from fire and decay.

Inside, bright wood paneling and solid walls on three sides make for a cozy interior and flexibility to situate the structure facing choice scenery. The smooth floor is designed to be easily cleaned for those trekking in and out. Outside, a small covered deck extends the space.

The relatively low cost (around $27K USD) includes both materials and labor (construction) costs. The structure is intended to serve any function needed, from weekend getaway or supplemental room to autonomous housing unit for fans of simple homes and small-space living.

“It’s not as dramatic as owning a house or a vacation home, but it’s not as basic as going on a trip,” explains MUJI. “Put it in the mountains, near the ocean, or in a garden, and it immediately blends in with the surroundings, inviting you to a whole new life.”

Taking a concept most commonly applied to broken pottery, artist Rachel Sussman applies golden pigment to the cracks in paved urban surfaces in a series called ‘Sidewalk Kintsukuroi.’ In Japan, this tradition – also known as kintsugi – treats breakage and repair as a valuable part of an object’s history instead of something to disguise. The cracks are highlighted and in effect, celebrated, making the object more visually interesting.

It’s interesting to see this idea of embracing flaws extended to public surfaces. Instead of simply allowing them to be paved over, Sussman calls attention to them and makes them into works of art. In this sense, these cracks become part of the constant evolution of a city, remaining visible even after the functionality of these roads or sidewalks has been restored.

The resulting patterns are often quite stunning, their irregularities taking on abstract compositions of light and dark, matte and luminescent. In some cases, they almost look like marble.

Susan created the in-ground installations using tree sap-based resin and a combination of bronze and 23.5 carat gold dust. To reproduce the effect in a gallery environment, the artist hand-painted enamel and metallic dust onto photographs of the physical works. They’re currently on display as part of the Alchemy: Transformations in Gold show at the Des Moines Art Center.

Taking bonsai approaches to the next level, a Japanese company based out of Kyushu has raised over half a million dollars so far for its levitating (and rotating) tree system.

The fauna in question span quite a range, from flowering plants to pine trees to mosses. The magnetic levitation tech supports up to 250 grams of whatever species you prefer (up to a few inches in width), powered via a simple AC adapter.

Of course, you can further decorate your little floating worlds however you like, with ceramic figures, lava rocks or other scene-setting touches.

The system comes as a DIY kit priced starting at around $200, depending on whether you wish to get both the mechanical system and a starter plant or just the technology portion. There are also both modern and traditional-looking, hand-crafted bases, depending on your aesthetic preferences.