INSIGHTS

2025.11.04

R&D DISCUSSION Vol.58

Thinking about the future of "Inheritance Design" [Part 2]

Kazunori Nomura, Professor at Kanagawa University, Advisor to Mitsubishi Jisho Design Architectural Heritage Design Office

R&D DISCUSSION TOP

Top image: [Photo 1] In front of the main hall on the second floor of the Japan Industry Club Building

Q: What other projects have you done that have broadened the scope of Inheritance Design?

A: Below are three projects.

Inheriting Large-Scale Modernist Architecture -JP Tower (2012)

The JP Tower project, which partially preserved the Tokyo Central Post Office building (completed in 1931) facing the Marunouchi Plaza in front of Tokyo Station, created a new approach to preservation by creating a public space where the old and the new resonate. The Tokyo Central Post Office building is a representative example of early modernist architecture in Japan, but unlike classical buildings like the Japan Industrial Club of Japan and the Marunouchi Station building of Tokyo Station, which were undergoing restoration work at the same time, the preservation standards for modernist architecture were not yet generally agreed upon at the time, and a review committee was also formed. It was argued that the most important aspect of modernist architecture is the designer's philosophy, and the building was positioned as one in which the philosophy of its designer, Tetsuro Yoshida (Ministry of Communications, Buildings and Repairs Division), permeates the entire building and every detail.

While we initially considered preserving the entire building, its sheer size posed a particular challenge. It contained vast spaces that no longer served their purpose, such as an operational room for sorting mail received by rail from across the country and a truck yard for distribution throughout Tokyo. To fully preserve the entire building within the redevelopment project, we needed to utilize the special floor area system, as was done with the Tokyo Station Marunouchi Building, to transfer the volume of the building that could be built on this site to another site, and simultaneously approve both the transfer and receiving plans. However, we were unable to find a site that could accommodate the volume of this prime location and make the project viable. As a second-best option, we decided to preserve two spans of the building facing the station plaza, which is important for the landscape, and to develop the rear area for "partial preservation," thereby preserving the building's historical value. The creation of a triangular atrium space where the preserved building faces the new building became the core of this architecture and a new development in the preservation method.

In fact, if we had been able to preserve three spans, it would have been ideal to completely preserve the first floor public room (the post office business room), but to do so would have required bending the columns around the tower's perimeter in two directions, which was structurally difficult. However, if three spans had been left intact, the atrium would not have been realized. Although it was only a partial preservation, I think it was a meaningful method for preserving the value of a large-scale modernist building amidst the redevelopment.

[Slides 1-3] JP Tower (2012) inherits the legacy of large-scale modernist architecture and creates a public space where the old and the new resonate with each other.

Restoring the lost "architecture as the origin of the city" --Mitsubishi Ichigokan and Marunouchi Park Building (2009)

The Mitsubishi Ichigokan, mentioned briefly earlier, was completed in 1894 as Marunouchi's first office building and was the last brick building to be demolished during Marunouchi's second development phase (1960s-1980s). When I first heard about the plan to restore it as part of the third development phase (1990s-2010s), I was truly surprised. Having decided to demolish Mitsubishi Ichigokan, a highly significant building in Marunouchi despite calls for its preservation at the time, there was a risk of social criticism if the company were to restore (recreate) it. However, Mitsubishi Estate was extremely enthusiastic, and organized a committee within the City Planning Institute of Japan and the Architectural Institute of Japan to objectively examine the significance of restoration and the feasibility of faithfully restoring it. Accurate restoration (recreation) based on abundant documentation would enable visitors to experience the building that marked the origin of the Marunouchi business district, convey the intent of its designer, Josiah Conder, and allow visitors to relive the techniques of Meiji-era brick architecture. We decided to take on the challenge of designing a brick restoration on a scale that no one has ever undertaken in modern times.

At first, we were faced with many unknowns, but we were greatly helped by Mitsubishi Estate 's careful preservation of Meiji-era blueprints and other documents. Even during demolition, they kept detailed records with photographs and blueprints, and even preserved the original materials. This project would not have been possible without the passion and efforts of our predecessors. However, simply having the necessary evidence for a faithful restoration is not enough. The restored Mitsubishi Ichigokan must be a new building that complies with current laws, meaning it must comply with all Building Standards Act and Fire Service Act. The next hurdle was figuring out how to make the three-story brick structure viable in the modern era. This too required much heated discussion, and we combined Conder's Meiji-era earthquake-resistant brick construction with modern seismic isolation technology, a world-renowned technique. However, because the staircases and other features do not comply with current laws, we added a stairwell and corridor to the rear. The key point of the overall redevelopment was the creation of a relaxing space filled with lush greenery and art between Mitsubishi Ichigokan and Marunouchi Park Building. Here, we have used structural innovations such as gathering the columns of the tower building together to form a pilotis, creating a plaza that is as spacious and comfortable as possible. In recognition of the creation of a new urban culture, we received AIJ Prizes (Achievement) in 2012.

[Slides 4-6] Mitsubishi Ichigokan and Marunouchi Park Building (2009) restored the lost "architecture as the origin of the city" and created a new urban culture

Passing on tradition through successive generations of theaters --GINZA KABUKIZA Kabukiza and Kabukiza Tower (2013)

The last project is the reconstruction of the Kabukiza Theatre in Ginza. It is the well-known "Kabuki Hall of Fame," but it is not just a dedicated stage for Kabuki; all aspects of Kabuki tradition take place in this building. Rehearsals are also held here, and everything from stage props to small props is made there. It is Kabuki's home theater, essential for passing on the classical art of Kabuki.

The original, opened in 1889, was constructed of wood but featured a brick-like exterior, creating a Western look. It soon lost popularity to the newly constructed Imperial Theater, and in 1911, it underwent extensive renovations to a purely Japanese style, while retaining its original structure. However, this second-generation building was destroyed by a fire due to an electrical fault. The third-generation building, completed in 1924, the year after the Great Kanto Earthquake, beautifully expressed traditional styles in reinforced concrete and was designed by architect Okada Shinichiro. However, it was destroyed by fire during an air raid during World War II, and in 1950, the fourth-generation building was rebuilt, using the original facade and other elements. Designed by Yoshida Isohachi, a disciple of Okada Shinichiro, the exterior retained the third-generation design, but the central roof was lowered, and the interior was redesigned in a modern Japanese style. It was the longest-serving building in the city until 2010, but significant issues with earthquake resistance and barrier-free access made reconstruction inevitable. The fifth generation, which was designed in collaboration with Kengo Kuma and Associates, was based on the strong desire of those involved to follow the long-loved fourth generation, and while the interior and exterior design follows the fourth generation, it is a state-of-the-art theater that has been significantly improved in terms of functionality.

Meanwhile, from a business perspective, it was necessary to build an office tower on the site to make effective use of the land. Since the Kabukiza Theater occupies most of the site, the tower would be placed on top of it. Similar examples have been seen in the past, but in both cases, the tower was placed above the theater's front lobby to rationally lower the columns, resulting in the tower rising up in front of the building. In this plan, we decided to set the tower back significantly to preserve the view of the Kabukiza Theater facing Showa-dori Street. However, this is the area above the stage where the columns could not be lowered the most. Working with Structural Engineering, we racked our brains to create a superstructure reminiscent of a bridge frame. While reusing some of the original components, the exterior facade faithfully reproduced the same shape as Mitsubishi Ichigokan. However, recreating the fourth-generation reinforced concrete exterior with a steel frame was extremely challenging. Furthermore, because the front yard was very narrow, we created a new space called "Kobikicho Square" on the first basement floor, directly connected to the subway station, where people could gather, and connected it to the front yard with an escalator. It is truly a modern theater town that is connected in three dimensions.

[Slides 7-10] GINZA KABUKIZA Kabukiza and Kabukiza Tower: A modern, multi-dimensional theater town that inherits the traditional theater (2013, joint design with Kengo Kuma and Associates)

[Photo 1: Photo courtesy of the Japan Industrial Club (as it is a members-only facility, the building is not open to the public) / 10 slides provided by Kazunori Nomura]

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PROFILE

Professor at Kanagawa University / Advisor to Mitsubishi Jisho Design Architectural Heritage Design Office

Kazunori Nomura

Kazunori Nomura

Born in Tokyo in 1964. Ph.D. in Engineering. After completing a Master's course at the Tokyo Institute of Technology in 1988, he joined Mitsubishi Estate Estate (architectural design and construction supervision Department). After working on the planning and design of the Marunouchi Reconstruction Masterplan, he joined Mitsubishi Jisho Design Jisho Sekkei in 2001 and has been involved in the design of numerous urban regeneration projects, including historical buildings. His representative works include The Industry Club of Japan,  Mitsubishi UFJ Trust and Banking (2003, Architectural Institute of Japan Achievement Award), the Mitsubishi Ichigokan Restoration Plan (2009, Architectural Institute of Japan Achievement Award, Japan Construction Contractors Association Award), JP Tower (2012), and Ginza Kabukiza (2013). His publications include "Reborn Historical Buildings" (Nikkan Kogyo Shimbun, 2014). He currently serves as an advisor to the Mitsubishi Jisho Design Architectural Heritage Design Office, a professor at Kanagawa University (since 2022), and a member of TOKYO ARCHITECTURE FESTIVAL Executive Committee.

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Update : 2025.11.04

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