The Onomichi City Museum of Art stands in Senkoji Park, on a hilltop overlooking the city center, accessible on foot or via the Senkoji Ropeway. First opened in 1980, the museum was redesigned in 2003 by renowned Japanese architect Ando Tadao. Ando renovated the original building and added an annex, which is now the main entrance. The annex in particular showcases Ando’s preferred materials: large glass panels paired with plain, unadorned concrete. Although the annex and the main building appear separate from the outside, on the inside they are seamlessly joined.

The traditional tiled roof of the main building is designed to mimic the shape and structure of the roof of the city’s Saigo-ji Temple, and the bay windows on the museum’s second floor offer a view over Onomichi which rivals the artwork on the walls for sheer beauty. There are many such open, quiet spots inside the museum, architectural white spaces designed for visitors to simply enjoy the view.

The museum is home to an eclectic selection of art by local and international artists, mostly relating to Onomichi, but it is the collection of modernist furniture which seems most at home in Ando’s building. Chairs by modernist American designers including Charles (1907–1978) and Ray Eames (1912–1988) and George Nelson (1908–1986) are dotted throughout the museum for visitors to use. In typical Ando style, the floor-to-ceiling glass of the annex building faces a raw concrete wall with all its knots and ridges on display. The clean lines of the annex building create stark shadows on the floor and walls as the sun moves across the sky.

尾道市立美术馆位于山丘上的千光寺公园，俯览市中心，徒步或乘千光寺索道即可抵达。美术馆于1980年开馆，并于2003年由日本著名建筑师安藤忠雄（1941-　）操刀重新设计。他不仅改造了本馆，还加建了如今作为美术馆正面入口的新馆。新馆由质朴的水泥裸墙与大块玻璃板组合而成，安藤所钟爱的建材由此可见一斑。新馆与本馆看似彼此分离，内部却是无缝衔接，浑然一体。

本馆的传统瓦顶按照附近西乡寺瓦顶的形状和结构设计而成，从美术馆二楼的凸窗向外望去，尾道美景于眼前铺陈开来，较之于墙上名画也毫不逊色。美术馆内设有多处开放且幽静的留白空间，供参观者静心眺望外部美景。

馆内收藏有大量来自本地及世界多国艺术家的作品，其中大部分与尾道相关，而最与安藤建筑相得益彰的当数那一件件现代主义家具。美术馆各处摆放着查尔斯・伊姆斯（1907-1978）、雷・伊姆斯（1912-1988）、乔治・尼尔森（1908-1986）等美国现代主义设计师设计的座椅，供参观者使用。新馆高大的玻璃幕墙与水泥裸墙相映成趣，一语道破安藤风格的内核。随着太阳移转，从朝曦至余晖，建筑的清晰轮廓在地板和墙壁上勾勒出的阴影变化鲜明，生动有致。