The Yasaka Kaikan, designed by Tokusaburo Kimura of Obayashi Corporation, an architect renowned for his mastery of theater architecture, features a multi-tiered roof and a tower-like front section. Its Japanese-inspired design forms part of the beautiful townscape of Gion. The building is designated as a registered tangible cultural property of Japan and a historic scenic building by Kyoto City. After nearly 90 years, the building had deteriorated and lacked adequate earthquake resistance. A revitalization project was launched to transform it into a hotel, involving the partial preservation of its frame, the expansion of two exterior walls, and compliance with the current Building Standards Act. However, several challenges had to be overcome before the project could be realized as Mr. Inoue of Obayashi Corporation's Design Division explains in the following:

The primary constraint was the height. The Gionmachi Minamigawa area, where the Yasaka Kaikan stands, is designated as a historic landscape preservation district because it is lined with wooden teahouse-style townhouses. Under the Kyoto City Ordinance, new buildings in this area are restricted to a height limit of 12 meters (40 feet) or less. In contrast, the Yasaka Kaikan, which was completed in 1936, rises to height of 31.5 meters (100 feet) far above the current limit. To preserve the iconic presence - cherished by both the local community and visitors - and to ensure its functionality as a hotel, we were committed to retaining its original height. This required us to seek special approval from the Council on Aesthetic and Landscape Design and the Landscape Review Board as an exceptional case. After extensive consultation, we proposed a design that would both renovate and expand the building, while preserving its long-cherished exterior by retaining the south and west exterior walls and structural elements, as seen from Gion's main street, Hanamikoji. The proposal was graciously accepted, with the building recognized for its refined form and its contribution to the area's historic townscape, allowing it to be rebuilt while retaining its original height.

However, moving heavy machinery in and out of Gion district, where teahouses and traditional Japanese restaurants line the streets and are bustling with tourists even during the daytime on weekdays, was a real challenge.

The large heavy machinery used for the demolition was moved in and out of the area via Hanamikoji in the early morning when there were fewer people around. In other cases, the work was carried out along the one way street on the south side of the site. As the street was narrow, the vehicles were limited to a maximum weight of 4 tons. Since the renovation of Gion Kobu Kaburenjo, which is adjacent to the Yasaka Kaikan, also started at the same time, execution of the work involved extensive coordination and negotiations between the construction companies.

In this way, the process of demolishing while preserving the structure began. According to Mr. Inoue, “The biggest challenge was to demolish while preserving the two exterior walls on the west and south sides.” The structural design team led the temporary demolition plan, and the construction team was required to proceed with exceptional caution and care - a process described as extraordinarily time - consuming and demanding.

Due to the risk of collapse in the event of a major earthquake, it was not feasible to demolish the building all at once and leave only the two walls to be preserved. The work proceeded by continuously reinforcing the inside of the building while demolishing the structure. Compared to a standard demolition and rebuild of similar scale, this project required significantly more time and effort. Therefore, it was essential to foster a thorough understanding among the local residents. Fortunately, the complexity and uniqueness of the project were featured in a TV program, which contributed to a broader public understanding of the initiative - the preservation of a landmark deeply valued by the local community. Following the broadcast, site manager and construction team said that communication with local residents was significantly smoother, and they were genuinely encouraged by the positive shift in local engagement.

Terra cotta, is a type of pottery that was popular for decorating buildings from the Taisho period (1912-1926) to the early Showa period (1926-1940s). The exterior walls of the fifth floor of the Yasaka Kaikan are decorated with terra cotta reliefs that have been there since the building opened in 1936, and most of them have been reused.

According to the records, the terra cotta reliefs were manufactured by Ina Seito (later renamed INAX, now known as LIXIL) in Tokoname City, Aichi. Those in good condition were carefully fixed and preserved, while those in poor condition were scanned in 3D and faithfully restored.

Interestingly enough, it was discovered that the bricks and terra cotta used in the second main building of the Imperial Hotel (commonly known as the Wright Imperial, designed by architect Frank Lloyd Wright) were also manufactured in Tokoname City. Moreover, many of the craftsmen who worked on the Wright Imperial were involved in the creation of the terra cotta at Yasaka Kaikan. There was a remarkable connection between the Yasaka Kaikan and the Imperial Hotel, that transcended time and space. Preserving the terra cotta of the Yasaka Kaikan was also a meaningful way of carrying forward the legacy of the Imperial Hotel.

The Imperial Hotel, Kyoto is scheduled for completion in October 2025, with the opening planned for spring 2026. Lastly, we asked Mr. Inoue, who has been leading this project, to share his thoughts on the charm of the Imperial Hotel, Kyoto.

There are various remarkable aspects to this project, but from my perspective as architect, what strikes me is that it transforms a historically significant building into a hotel. In Europe, such adaptive reuses are quite common. After joining Obayashi Corporation, I studied design in the UK and was astonished to see that new construction and renovation were often handled side by side. Looking back now, I believe that experience broadened my perspective and helped me meaningfully engage with the academic involved in this project. It's hard to put into words what it feels like to engage with Kimura's blueprints - almost as if speaking across time. And that is precisely what makes the rebirth of the historic Yasaka Kaikan as a hotel so meaningful for future generations. I believe that the Imperial Hotel, Kyoto, which inherits the timeless beauty of Gion, offers experiences unlike any other. I sincerely hope our guests will come and feel those precious moments for themselves.