"Inheritance of Memory"
From the design of the fifth Kabukiza

However, in reality, there have been significant changes. Firstly, the structure has been changed from reinforced concrete to steel. Naturally, facade is dry-cast, and if you look carefully you can see joints that weren't there before. The three steps at the main entrance have been removed to make the building barrier-free. The extension on the right side of the front, on the corner with Kobikicho Street, used to protrude further than the front wall, but this time it has been set back to an inconspicuous position in order to emphasize the symmetry of the front.

To make it easier to see the stage, the slope of the seats has been made steeper than before. The ceiling above the seats now has a hemispherical protrusion that was not present before to improve acoustics, and the pillars that supported the second floor seats are naturally gone as they would have blocked the view. The shape and size of the seats and the design of the box seats are also different from before. Previously, the only way to access the second and third floor seats and the curtain-viewing seats was by climbing stairs, but escalators and elevators have been installed to accommodate kabuki fans of all ages. The number of toilets has also been increased, and waiting times have been greatly improved. In addition, a plaza has been installed in the basement that is directly connected to the subway concourse, and you can experience the kabuki atmosphere in the shops and ticket booths without having to enter the theater.

There are countless changes, but to improve functionality, safety, and convenience as a theater dedicated to Kabuki, it is safe to say that almost nothing is the same anymore. I was prepared for some harsh criticism from passionate fans, who would say, "It wasn't like this before," or "It was better before," but to my surprise, it has received extremely positive reviews, with people saying, "The nostalgic Kabukiza is back..."

I think this gives us a hint for urban development. The fifth Kabukiza is neither a preservation nor a restoration. It is true that when the fourth Kabukiza was dismantled, our design team carried out a thorough investigation into the overall composition, structure, construction method, materials, and even the details, and reflected the results in the design, but the building itself is a completely new construction. However, it firmly inherits the image of Kabukiza that people have in their minds, such as the karahafu roof at the main entrance, the red lanterns, the hipped roof roof on both sides, and the red balustrade. It can be said that it expresses the form of Kabukiza that people want. It represents the image of Kabukiza that not only Kabuki fans, but also impresarios, Kabuki actors, local Ginza residents, and government officials have in mind, the way they want it to be, the way they think it should be.

It goes without saying that it is important to inherit and continue to use old buildings. They are filled with the culture, technology, and feelings of the people at the time they were built. However, there are cases where rebuilding is the only option due to various circumstances. The current rebuild of the Kabukiza Theater inherited the memories of the people and the town, while redesigning the functions and performance to fit the modern era. It is hoped that this method of "inheriting memories," which is different from preservation and restoration, will continue to play a role in urban development centered on old buildings.

I feel honored to have been involved as a designer in the process by which the Kabukiza Theater has come to be beloved by so many people and been passed down to future generations along with Kabuki culture. I would like to express my gratitude to Shochiku Co., Ltd. and Kabukiza Co., Ltd. for giving me the rare opportunity to design a theater dedicated to Kabuki.