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 most visible change in the fifth Kabukiza is the addition of acoustic reflectors to the raised part of the roof above the auditorium. This was a measure to improve the acoustics of the first floor seats, but it was a very delicate undertaking, incorporating a flat ceiling into the round, semi-cylindrical ceiling and installing indirect lighting seamlessly in the ceiling closest to the stage, which is the part most visible from the auditorium. At the design stage, we were worried that the three-dimensional structure might not work, but after repeated discussions with Kengo Kuma and Associates (hereafter referred to as Kuma Office), who were in charge of design in collaboration with us, and Nagata Acoustics, who was in charge of 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 moment, with each specialist using their imagination, and sometimes even 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.