Why Tokyo's Most Opulent Hotel Was Demolished: The Imperial Hotel 1923-1968

At the zenith of its glory, the Imperial Hotel in Tokyo epitomized the pinnacle of opulence and grandeur in the East.
An architectural masterpiece, it stood as a beacon of luxury, marrying Eastern elegance with Western grandiosity.
In today’s episode of Old Money Mansions, we’ll detail how - in a turn of events that shook the world - the iconic Imperial Hotel of Tokyo, once a pinnacle of grandeur at the height of global sophistication - faced an abrupt closure, dismantling, and ultimate demolition.
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TIMESTAMPS
0:00 Introduction
1:06 Chapter 1: Frank Lloyd Wright and the Japanese Vision
4:15 Chapter 2: Construction and Design of the Imperial Hotel
8:37 Chapter 3: The Heyday of the Imperial Hotel
11:00 Chapter 4: Demolition and Legacy
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In the realm of American architecture, where rugged form waltzes in perfect harmony with unbridled nature, there exists one name that commonly reigns supreme - Frank Lloyd Wright.
His innovative philosophical approach to design was grounded in the idea of creating buildings that exist in effortless unity with their environment - showcasing his strong commitment to organic architecture.
Indeed, Frank Lloyd Wright was not only an architect but a trailblazer in design - profoundly influencing twentieth century architecture.
His work was characterized by a unique style that emphasized horizontal lines, flat or hipped roofs with broad overhangs, windows grouped in horizontal bands, integration with the landscape, solid construction, craftsmanship, and respect for natural materials.
Before his work on the Imperial Hotel in Tokyo, some of his most significant projects included the famed Robie House - still standing in Chicago - a defining example of the Prairie School style, characterized by its extended horizontal lines and integration with the landscape - the Larkin Administration Building, which demonstrated his innovative use of space and light - and Unity Temple, which showcased his use of concrete and represented a new approach to religious architecture.
Now, in 1911, the journey to build the new Imperial Hotel took a pivotal turn when Frank Lloyd Wright's name emerged as a top candidate for its design.
This opportunity arose through the advocacy of Frederick Gookin - a connoisseur of Japanese prints and an associate of Wright.
Gookin recommended Wright to Aisaku Hayashi - the hotel's manager - recognizing his potential for this grand project.
And, of course, Wright’s profound affinity for Japanese art and culture was instrumental in winning him this prestigious commission.
In fact - even before working on the hotel - Wright’s deep reverence for Japanese aesthetics was so intense that he once hailed Japan as "the most romantic, artistic, nature-inspired country on earth."
Now, by 1916, the Japanese government officially entrusted Wright with the task of designing the new Imperial Hotel.
Now, in the opulent decades of the nineteen twenties and thirties, the Imperial Hotel was indeed a symbol of elegance and luxury.
This architectural gem - adorned with bespoke furnishings and sumptuous interiors - quickly became a magnet for illustrious guests and the setting for magnificent events.
Its distinctive style was soon interpreted as a unique interpolation on the nineteen thirties Art Deco movement - and the hotel boasted 60 rooms, each with a fireplace, alongside a formal dining room, a grand ballroom, and an elegant music salon.
And The Imperial Hotel became a crossroads for international luminaries during these decades.
Esteemed guests included Albert Einstein in 1922, Charles Chaplin in 1932, Babe Ruth, and Fyodor Ivanovich Chaliapin in 1934, and Helen Keller in 1937.
But beyond its architectural splendor and iconic guests, the hotel also held a significant place in Japanese culture.
After the aforementioned Great Kanto Earthquake in 1923, the Imperial Hotel emerged as a unique site for Shinto weddings.
This popularity led to the incorporation of its own shrine - a novel concept for a hotel at that time.
Yet, despite the hotel's splendor and cultural impact, the changing global political landscape soon had an effect.
Now, in the nineteen fifties, Tokyo's Imperial Hotel - by then a survivor of both the 1923 Great Kanto Earthquake and World War 2 - embarked on a new chapter of growth and transformation.
This period saw the hotel evolving to meet the demands of a changing world - while retaining its status as a beacon of luxury and cultural exchange.
The decade commenced with the construction of an annex behind Frank Lloyd Wright's original structure - signaling an era of expansion and modernization.

[@oldmoneymansions]

COMMENT: Were you familiar this incarnation of The Imperial Hotel - and are you a fan of Frank Lloyd Wright’s work?

[@csm92459]

I'm quite familiar with it as I did a research paper on the Imperial Hotel. I was a student at Cornell's hotel school and took a course on modern architecture (in the Architecture School) as an elective. In historic context, Wright's winning and maintaining the contract for the design is remarkable. The Japanese contingent to the Paris Peace Conference in 1919 was generally ignored and they departed early, offended by the racism inherent in the Euro-centric emphasis. (Contributing to their rapid industrialization.) For the commission not to be pulled and awarded to a Japanese architect is impressive. A couple of points--the Japanese historically did not bring strangers into their homes, therefore the emphasis on public areas rather than guest room count. As you mentioned, Tokyo is a seismic site--I read it described as a location where the ground is never actually still. The hotel site was marshy (which is fatal during an earthquake) and Wright designed the foundation as a series of "lily pads" that "floated" on the waterlogged soil.. The American Institute of Architects claimed that the design was not structurally sound and that the hotel would collapse during an earthquake. As you mentioned, it lived through the event on the day it opened plus others. (In my reading the damage during opening was not described as severe as you portrayed.) Wright himself claimed that the design would not be understood for 50 years--it was demolished just shy of that milestone. I think it is unfortunate that you did not cover the interiors and fitting also designed by Wright. To me, one of the impressive aspects of Wright's work was how he wove his design motifs into ever detail of the building. The china designed for the Imperial Hotel is particularly beautiful IMHO.

[@wcallen]

Yes, I also visited the remaining structure at Meiji Mura. It is great to see his legacy live on.

[@leoragaster4592]

Thank you!

[@joeffreycardenal8980]

How sad for great magnificent masterpiece of Architecture as well as interior furniture, light & landscape designs could have been then saved from ultimate demise if UNESCO, a vanguard of local & global heritage sites is already existing to declare a very important landmark for its conservation & preservation of this World's Heritage treasure! It's devastating to know that in current generation this elegant & exuberant works of nature & art was lost that have deprived us of an irreplaceable treasure as one of finest highlights of a Master's creative powers! May we learn to appreciate most of remaining historical & cultural artefacts in the world as their lasting legacies in our times🙏👍🙂

[@josephpiskac2781]

I am fortunate enough to have visited all of Wrights great buildings. Great historical presentation on his Imperial Hotel.

[@michaelhebeters9568]

ALL of them ?? There are a number that are very private and others that cannot be seen in person unless you release a drone

[@josephpiskac2781]

@@michaelhebeters9568 I have seen everything ever published and much that is not published. I love the Auditorium in Chicago. I started visiting Wrights California buildings in the early 1960s.

[@josephpiskac2781]

@@michaelhebeters9568 I did drive around at least a couple time looking for the Marlin County Courthouse and never found it. I have seen it in movies and extensively published and feel like I have experienced it.

[@pmm3112]

STUNNING ARCHITECTURE What an Amazing structure!! Wright’s signature style is evident and precious!! To see this monument preserved even in part is a testament to the ingenuity behind this gifted artist!! 🎉 I’m so happy it wasn’t lost forever and was moved and preserved!!! Like the Guggenheim in NYC, some buildings Must Be Preserved for future generations and inspiration!! Thanks for sharing this story!! 👏🏻 👏🏻Bravo 👏🏻👏🏻

[@Bigbird1ist]

In my 20s I got to work as a bus-boy at the Arizona Baltimore in Phoenix. It also is a Frank Loyd Wright building. In the 1970s it still stood and probably still does a beautiful example of his unique approach to architecture.

[@arslongavitabrevis5136]

I do not see what that horrendous shoe box made of glass called "The Prada Building" could possibly have in common with the Imperial Hotel, which, by the way, has been vastly overrated because was designed by Frank Lloyd Wright, an equally overrated architect.

[@twistoffate4791]

Wow, you really woke up in an unfortunate mood.

[@arslongavitabrevis5136]

@@twistoffate4791 (LOL) Yes, I admit I was rather harsh but this is how I feel and what I believe; I shall never be a hypocrite and try to sugar-coat my thoughts. I stand by my beliefs. I liked your comment and sense of humour. Regards. 😁😁😁

[@robkimberlin959]

I love the work of FLW but I see this as one of his least successful buildings. It is fussily, overly ornate. I see nothing Japanese about its aesthetic. The overall effect looks much like his “Mayan” buildings in LA. I have read that in the interior his use of interconnecting spaces created some wonderful vistas. I was lucky to stay in the new Imperial Hotel which I think is a wonderful example of International Style. On the mezzanine level they kept a small bar from the original hotel. The bar was dark and cramped.

[@arslongavitabrevis5136]

@@robkimberlin959 Exactly! There is NOTHING Japanese about it, so much for his "knowledge" and "understanding" of Japanese culture and architecture. It was just a showpiece for his ego. This is what happens when you have an egotistic, arrogant, architect to whom the media has been flattering and puffing-up for decades.

[@csm92459]

Who do you consider to be a particularly successful and talented architect?