Theatre Design & Technology - Fall 2020 - 36

post-World War II competition held for
the design of the Kanagawa Kenritsu
Toshokan/Ongakudo (Kanagawa prefectural library/concert hall), which opened
in 1954. The building was commissioned
by the prefectural governor of Kanagawa,
Iwataro Uchiyama, to memorialize the
" Treaty of Peace with Japan " in the same
year. Maekawa grasped the potential significance of the new building in supporting the revival of culture saying, " Now is
the time to provide people with a place
where they can enjoy music calmly to
give themselves strength towards tomorrow. " He was selected from five named
architects, including Kenzo Tange.
The building lies halfway up a hill
commanding Yokohama port. It has a
quiet appearance that gently welcomes
people and does not show the grandiose
posture so typical of cultural facilities.
For the periphery of the library, perforated blocks are used to control light like
louvers. Such blocks are continuous at
the handrails of the terrace on the second
floor of the concert hall. The materials
and structures are all simple, including
the above blocks.
Maekawa's work on this project was
so well received that it led to his appointment to design TBK. The construction
of TBK took place under the political
wave caused by ratification of U.S.-Japan
Security Treaty (1960), the signing of
which caused mass demonstrations in
Japan. Both projects are symbolic of
Japan's post-war recovery.
Nonetheless, the appearance of TBK
looks the opposite of the quieter style
of Kanagawa prefectural concert hall.
The size itself is huge, and the stretch of
land in front of the building is also different. Compared with the Kanagawa hall,
which has a plain facade made with glass
windows and walls and simply presents
the necessary functional volume, TBK
has a stronger and massive expression,
being rather exaggerated or boorish, with
its large upswept pent-roof, a lot of heavy
vertical pillars, and exterior wall panels
inlaid with crushed marble.
And yet, there are common concepts
visible in both buildings. For example,
the pent-roof (balcony) emphasizes its
horizontal character, with the open-ceiling space or high pillars arranged on the
periphery conversely highlighting the
vertical nature. Huge glass surfaces extend from the floor to the ceiling in the

36 | THEATRE DESIGN & TECHNOLOGY | FALL 2020

0

10

20

40
metres

Section of the small hall. | Drawing by David Hamer.

0

10

20

40
metres

Facility groundplan. | Drawing by David Hamer.

foyer, with the ceramic industrial materials found in the perforated blocks and
the wall panels with crushed marble.
So, while having different appearances,
these buildings share the same architectural root.
Compared to many European and
American theatres and concert halls,
TBK is compromised spatially and technically. The depth of the main stage is
restricted by the sound reflectors, and
the ceiling of the side stage is low due to
the foyer garden of the small hall. There
are too few fly bars, and they are not correctly located because the sound reflectors interfere. Moreover, their loading
capacity is limited. Even with such inconveniences, TBK was the best facility of
the time in Japan. Because of these poor

complications, new concepts and ideas
were sought in subsequent Japanese
halls. TBK influenced future performing
arts buildings in these and other ways.
In particular, Tokyo Bunka Kaikan
became a significant venue for performances in Japan after the war, and it
served as a window to the world. The
name is well known to the many worldfamous opera companies and orchestras
who visited from London, New York,
Vienna, Munich, and Milan. An amazing number of people-artistic directors
and stage engineers, as well as the conductors, players, and singers of classical
music and ballet dancers-from outside
Japan have stood on the stage and provided Japanese audiences with their wonderful performances.



Theatre Design & Technology - Fall 2020

Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2020

Contents
Theatre Design & Technology - Fall 2020 - Cover1
Theatre Design & Technology - Fall 2020 - Cover2
Theatre Design & Technology - Fall 2020 - 1
Theatre Design & Technology - Fall 2020 - Contents
Theatre Design & Technology - Fall 2020 - 3
Theatre Design & Technology - Fall 2020 - 4
Theatre Design & Technology - Fall 2020 - 5
Theatre Design & Technology - Fall 2020 - 6
Theatre Design & Technology - Fall 2020 - 7
Theatre Design & Technology - Fall 2020 - 8
Theatre Design & Technology - Fall 2020 - 9
Theatre Design & Technology - Fall 2020 - 10
Theatre Design & Technology - Fall 2020 - 11
Theatre Design & Technology - Fall 2020 - 12
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Theatre Design & Technology - Fall 2020 - 18
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Theatre Design & Technology - Fall 2020 - 21
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Theatre Design & Technology - Fall 2020 - Cover3
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
https://www.nxtbookmedia.com