Tokyo’s mysterious “purposeless building”

Five years ago, the acclaimed architect Hiroshi Naito was asked to design a five-story structure in central Tokyo with no specific purpose. The private social education organization Rinri Institute of Ethics (Rinri Ventitute) gave him free rule and suggested that the function of the building would be determined based on its design. As a result, Kioi Seido (also known as the “purposeless building”) is brought to life.

Well, not totally free rule. According to a statement released by Naito at the exhibition, “The only order from my client is that I think of Jomon [period]” – A prehistoric era of Japanese history, extending from 13,000 BC to about 400 BC, is known for its mysterious clay statues, knotted rope pottery and an abstraction that is both ancient and strange.

He continued: “I think what they want is not bound by capitalism or current common sense, but something that causes emotions.” The resulting structure is underestimated, yet otherworldly – a combination of warm and cool tones, a combination of soil and industrial textures, which combine to make people both familiar and disorientate.

Today, Kioi Seido stands at a small intersection in the center of Chiyoda City. A quiet shelter that may escape your notification at first glance. It is not usually open to the public, but only for a limited time (until September 30, to be precise), a special exhibition will allow visitors to enter the building for the first time in two years.

This is not only a rare opportunity to see the hypnotic beauty inside it. The exhibition also displays Naito’s 40-year diary and sketches.

Extraordinary cracks

“When you find yourself in this mysterious space, the first floor is deeply reminiscent of the ancient Jomon period, and when the second and above extend into the future, you forget the routines of daily life and feel “extraordinary cracks.”

Although not obvious from the outside, Kioi Seido’s concrete cube form is supported by four polygonal pillars. They installed a device on the base layer that contained 18,800 glass fragments, each representing the person lost or missing in the 2011 Great East Japan earthquake. Charcoal tiles, coated with spaces, their coatings are all different in gloss and shapes, many of which are Kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani kametani

Requiem of the Oda East Japan Earthquake

Up from the second floor, warm cedar planks, exposed concrete and beams form a four-story atrium shrouded in light and shadow. The nine craters on the ceiling form the skylights, which immediately feel a futuristic and timeless feeling, each spring tapers upwards with a slight curve. Each angle provides a new perspective as you climb up each story and walk around.

Modern Pantheon

The ascending Kioi Seido’s staircase is a peaceful, comforting experience, but also strangely hypnotized – it feels as if you are suspended in time and space, disconnected from the outside world.

Naito is attracted by the Pantheon of Rome, the only Roman architecture that has been intact for centuries. He strives to create something immortal, naturally magnetic. “Purpose or function [the Pantheon] “If the problem is aimless, I want to build a modern pantheon,” Naito’s statement said.

Naito, when conceptualizing Kioi Seido, talked about the issues of tradition and modernity raised by architect Seiichi Shirai. Shirai uses the original, unmediated aesthetic sensitivity of objects of the Jomon Style (1956) as a tool to argue that architects must transcend identifiable elements of stylists and focus on “intrinsic potential” – the fundamental spirit – a form of spirit.

“I believe [Shirai’s inquiry] “This is a wake-up call for a society that is striving to pursue a rapid modernization. It’s been 70 years since then, and I see the questions raised this time as the same issue,” Naito said.

Naito may refer to what is known as the “Jomon-Yayoi dichotomy”, a concept that gained the attention of Japanese architects in the post-war period. The debate was triggered in a broader national dialogue about identity and tradition, in terms of whether Japanese architecture should draw inspiration from the original expressions of the Chomon era, or the more refined and orderly aesthetics of the Yayoi era. Naito uses original concrete (a material used since ancient times and a highly precise and refined industrial product) to symbolically integrate elements of tradition and modernity into a harmonious whole.

Despite the complexity and beauty of the building being enough for a visit, Naito’s exhibition of meticulous notes, sketches and diaries brings fascinating glimpses to his mind. Starting from the second floor, you can browse his 40-year plans, inspiration and thoughts. On the floor of the atrium is an installation called “Word Mandala”, which shows clips from Naito’s work.

About Guangzhineitu

Born in 1950, Kinagawa Prefecture is one of Japan’s most popular and visionary architects. After earning his bachelor’s degree and master’s degree in architecture from Waseda University, he worked under the leadership of architect Fernando Higueras in Madrid and architect Kiyonori Kikutake in Tokyo. Naito founded his own company, Naito Architect & Associates, in 1981, and became a professor at the University of Tokyo from 2001 to 2011, when he became an honorary professor.

His major architectural works include the Toba Sea-Folk Museum (1992), Shimane Arts Center (2005), and Kusunagi Sports Complex Gromblesium (2015). Naito’s creation emphasizes harmony between the built environment and its natural environment, focusing on technological durability and sustainability. His gentle minimalist works usually balance the texture of wood and concrete, eliciting a warm and humble attitude.

More information

Exhibition title:
“Archit Niroshi Naito – Anything: Diary and Thought Sketch in Kioi Seido”

Date and hour:
July 1 to September 30, 2025
Open Tuesday, Thursday, Saturday (excluding holidays and closure dates: August 12, 14, 16 and September 23), 10am to 4pm (last entry 3:30pm)

Admission:
Free, no reservation required

address:
Kioi Seido, Institute of Ethics
3-1 Kiioicho, Chiyoda-ku, Tokyo
(10 minutes from JR Yotsuya / 5–6 minutes from nearby subway stations)

notes:
– No parking or luggage storage
– High heels are not allowed inside
– Toilet on the first floor
– Photography is allowed, no tripod
– Please avoid taking photos of notebook exhibitions, talking loudly, eating or drinking

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