The former Kabukiza
Inheriting “invisible goodness.”

"Inheriting the functions of the fourth Kabukiza and adding new functions to further develop it" was the main pillar of this project. However, with the framework already decided as a hardware, there were many physical space restrictions to incorporate various elements, including the latest technology, and it was quite difficult from the perspective of the designer. However, the really difficult part was not actually the hardware, but the fact that the Kabukiza had an established software. It was not just the software in terms of usability, but the "invisible goodness" of the memories, senses, and feelings of the actors, backstage staff, and many more customers. That was what the previous Kabukiza had. In order to incorporate new functions into it, a great deal of time and effort was required. In other words, this project required the ability to design while inheriting such "invisible things." To meet this demand, it was not enough to simply have a good designer with good taste. We gathered the strengths of each department - design, structure, equipment, electricity, engineering - and combined each department's experience and wisdom to tackle this difficult challenge. And we were able to actually meet the demand. I am convinced that we were able to overcome this hurdle by making the most of our company's strengths.

The installation of acoustic reflectors in the folded-up section of the saobuchi-tenjo ceiling above the audience seats is probably the most visible change in the fifth Kabukiza. This was a measure to improve the acoustics of the first-floor seats, but it was a very delicate undertaking, as it required incorporating a flat ceiling into the round, semi-cylindrical ceiling and installing indirect lighting seamlessly, and it was located in the ceiling closest to the stage where it could be seen most from the audience seats. During the design stage, we were worried that the three-dimensional structure might not work in the first place, but after repeated discussions with Kengo Kuma & Associates Associates (hereafter referred to as Kuma Office), who were in charge of the design, and Nagata Acoustics, who was in charge of the acoustics, we refined the design to the point where it was feasible.

Once on-site, the challenge was to coordinate with the lighting. Even though it was lighting for the audience, we needed smooth control of brightness to match the stage direction. Dimming the LED fixtures was difficult enough, but we had to make sure that the light would not look out of place on a ceiling surface with an unprecedented shape. We asked people from Shochiku, the project owner, and the Kabukiza to visit the production site, and it was a total war until we arrived at a satisfactory form in terms of both acoustics and lighting. The familiar ceiling design and lighting were combined with our acoustic proposal, and another new highlight for the Kabukiza was born.

The Kabukiza is the world's only Kabuki hall, and a building unlike any other. It is no exaggeration to say that we poured all of the design experience we have cultivated into this project. We all thought things through to the very last detail, with each profession using their imagination and at times coming up with acrobatic solutions. By bringing together the technical capabilities and wisdom that Mitsubishi Jisho Design is proud of, I believe we were able to help give shape to the dreams of the business owner, those involved in the stage, and all those who love Kabuki.