In Tokyo’s Marunouchi district, office buildings stand in perfect alignment. While observing this contemporary cityscape, Makoto Yamaguchi was struck by its resemblance to the long-cultivated Japanese aesthetic of the “juxtaposition of subtle differences”—an approach seen in traditional gardens and in the Kokin Wakashū (the first imperial anthology of waka poetry, compiled in the Heian period, AD 794-1185) . In this conversation, he speaks with Yusuke Iwamoto of Mitsubishi Estate—the company behind much of Marunouchi’s development—about the aesthetic sensibilities embedded in Japan’s foremost business district.

Interview and Composition | Yuta Hagiwara
Photography | Misaki Yanagihara

 

 

 

Marunouchi: The Juxtaposition of Subtle Differences

What led you to focus on Marunouchi this time?

Yamaguchi: Earlier this year, in my doctoral dissertation, I discussed the concept of the juxtaposition of subtle differences. In the past, the tachibana orange tree (Citrus tachibana) and plum blossom tree in the south garden of the Kyoto Imperial Palace embodied—as implied in poems from the Nara period (AD 710-784) —a sense of contrast: between “Japan and China” and between “the Age of the Gods and the present reign.” By the time of the Kokin Wakashū , however, the relationship between the two trees was no longer one of contrast but of similarity. Both had come to be associated with a fragrance that stirs memories, and the distinction between them had faded away. Consequently, the tachibana orange tree and plum blossom tree in the south garden of the Kyoto Imperial Palace were replaced with the long-standing Ukon no tachibana (tachibana orange tree on the right) and Sakon no sakura (cherry blossom tree on the left), a pairing that endures to this day, creating a subtle distinction while both fragrant—tachibana for fragrance, and cherry for falling petals.

So you define the juxtaposition of subtle differences as arranging small distinctions side by side within an overall similarity, rather than in direct contrast.

Yamaguchi: Yes. In March of this year, we moved our office to the Marunouchi Eiraku Building. That’s when I realized that the Marunouchi district itself is, in fact, shaped by the juxtaposition of subtle differences. Marunouchi feels unified, with rows of office buildings, yet each has a slightly different expression. What’s also notable is that, unlike many other business districts where office buildings are often mixed with commercial facilities or condominiums, Marunouchi consists entirely of office buildings. I don’t think there is any other district quite like it in Japan. From the upper floors of the Eiraku Building, you can see Marunouchi’s buildings, showcasing a juxtaposition of subtle differences, and, through the gaps between them, catch glimpses of the distinctive structures of the Imperial Palace—a view found nowhere else.

Indeed, when you look at the buildings in Marunouchi, you can sense both their similarities and differences.

Yamaguchi: Another point is that Marunouchi has design guidelines, which include voluntary restrictions on outdoor signage. By minimizing signage and avoiding prominent displays of building names or the companies inside, each building takes on a somewhat abstract character. From the outside, you can’t tell what they’re used for, yet each building has its own distinct identity, with subtle variations from one to the next. That’s where I sense the juxtaposition of subtle differences.

So this time, I wanted to ask Mr. Iwamoto—whom I’ve known for some time and who works in public relations at Mitsubishi Estate—how he sees Marunouchi.

Iwamoto:　I’m really glad to hear that Marunouchi gives you a sense of the juxtaposition of subtle differences. However, when I first heard the idea that Marunouchi is a juxtaposition of subtle differences, it didn’t really click. I think that’s because saying that similar buildings lined up can sometimes carry a negative connotation.

However, it was only when I visited the Honjima Refuge this March—a project you designed, Mr. Yamaguchi—that the concept of the juxtaposition of subtle differences finally made sense. Within the similarities, there is a clear individuality, and together they create a distinctive beauty. The buildings in Marunouchi, too, are each entirely different, yet together they form a single, cohesive cityscape.

I imagine that for a single district to create the juxtaposition of subtle differences, it would require meticulous urban planning. To begin with, how did the district of Marunouchi take shape?

Iwamoto:　Going back in time, Marunouchi was developed on land purchased from the Meiji government by Yanosuke Iwasaki, then president of Mitsubishi-Sha. Driven by his belief that “for Japan to take the path of a modern nation, it was necessary to create a business center like those in New York or London,” he set out to develop the area. More than 135 years later, it still serves as one of Japan’s leading business centers.

However, Marunouchi has not always enjoyed uninterrupted prosperity. In the 1990s, after the collapse of the economic bubble, it went through a difficult period known as “the twilight years of Marunouchi,” when major corporations began leaving its aging office buildings one after another. At that time, the district consisted solely of offices, so to bring commercial vibrancy to Marunouchi, designer stores and restaurants were encouraged to open along Marunouchi Naka-dori Street, and cultural facilities were enhanced. Today, it is not unusual to see people bringing their children on weekends, coming for sightseeing, or taking wedding photos in Marunouchi—but back then, the idea of families coming here was unthinkable.

Marunouchi’s Image Shaped by Its Cityscape

Yamaguchi: Since relocating our office and spending more time there, I’ve come to appreciate the unique character of Marunouchi. It has a distinctive dignity and elegance. How is that special quality maintained? Is it largely because Mitsubishi Estate has undertaken large-scale, district-wide development—redeveloping the entire area—and branding for Marunouchi?

Iwamoto:　The land managed by Mitsubishi Estate actually accounts for only about 30% of Marunouchi.

Yamaguchi: Really?

Iwamoto:　Yes. One reason I believe Marunouchi is so distinctive is that the landowners have come together to form the Council for Area Development and Management of Otemachi, Marunouchi, and Yurakucho, working together to shape the district. There are many things that a single building alone cannot achieve, but that become possible through a district-wide approach, where functions complement one another. We keep the district evolving through continuous dialogue with everyone involved.

Yamaguchi: There are only 65 regular-member companies in the council, if I’m not mistaken. Perhaps that scale itself is an important factor—after all, there is a theory that in the Heian period, there were only a little over 500 nobles. As a result, values such as “this fragrance belongs to someone of high rank” could be easily shared. Such tacitly shared values would have been difficult to maintain if there had been as many as ten thousand nobles. Similarly, Marunouchi may preserve its quality and shared values precisely because the number of companies involved is limited.

So it’s precisely because the community is small that the values shared can shape Marunouchi.

Yamaguchi: Exactly. Marunouchi does have guidelines for aspects such as design and building height, but these don’t seem to come from the kind of negative approach often found in municipal landscape ordinances—don’t create anything that stands out. Rather, they feel like a proactive effort to realize the essence of Marunouchi. I get the sense that there is a shared image of Marunouchi, and that everyone is building the district in a way that aligns with it.

Earlier, you mentioned that there is no district in Japan quite like Marunouchi. What about if we look overseas?

Yamaguchi: For example, medieval European cities like Florence or Bologna give me a feeling similar to Marunouchi. One thing they have in common is that you can’t tell the function of the buildings from the outside. Because there’s no signage, you can walk through the city without knowing whether a building is a hotel, an office, a residence, or what it’s used for. I think it’s exactly because the details aren’t immediately visible that the buildings don’t dominate the view, letting the city maintain its beauty as part of the overall scenery.

Iwamoto:　In cities like that, one concern is the sense of exclusivity. They can sometimes feel unapproachable or come across as pretentious. We certainly don’t want to create an exclusive district, so we hold events on Naka-dori Street and in other parts of Marunouchi to create a welcoming, lively atmosphere. In European cities, too, they often hold regular film festivals and other events to draw in new visitors.

Yamaguchi: In Europe, there’s a clear distinction between temporary and permanent structures. Since the buildings are permanent, it feels natural to have temporary tenants like cafés or restaurants on the ground floor. Permanent buildings that have stood for centuries hold their ground, while temporary events and shops add vibrancy to the scene.

Evolving Marunouchi

Yamaguchi: Before you joined the Corporate Communications Department, you were also involved in attracting startups, weren’t you? From your perspective in that role, did you ever think, “If a company like this came in, it could change Marunouchi,” or, “I want to bring in a company like this to make that change”?

Iwamoto:　Yes, I did. For example, Otemachi is lined with major banks and serves as a hub for finance. Looking ahead, however, the idea of fintech—the integration of finance and technology—will be essential for conducting financial business. With that in mind, we established “FINOLAB,” a facility where fintech startups and other stakeholders can come together to tackle social issues.

Similarly, in addressing global warming, climate tech—technology designed to tackle climate change—will also become increasingly essential. In response, we are establishing “0 Club,” Japan’s first innovation hub in the field of climate tech. By providing a venue where large corporations, startups, and academia can collaborate, open innovation thrives, and new businesses emerge one after another. This is the kind of district we’re aiming to create.

Yamaguchi: Do such needs originate from within Mitsubishi Estate itself?

Iwamoto:　Amid changes in the times, the economy, and society, needs tend to emerge organically—taking shape through conversations within the district.

Yamaguchi: When a new type of company moves in, could it serve as a catalyst for change in the district or in a building? Even if an IT company, unlike any seen before in Marunouchi, were to move in, you wouldn’t be able to tell from the outside, would you?

Iwamoto:　We want Marunouchi to continue evolving with the changing times, while always staying at the forefront. The mix of tenant companies has also changed over time. In recent years, with the rapid advance of digitalization and the emergence of generative AI, workstyles have evolved, and so have the needs of both companies and workers. By shaping spaces and streetscapes in response to those needs, we attract new companies, and the stimulus they bring in turn seems to be sparking changes even among those working at major corporations.

Yamaguchi’s Works Gradually Merging with the Landscape

We’ve been talking about Marunouchi so far. From your perspective, Mr. Iwamoto, how do you see Mr. Yamaguchi’s work?

Iwamoto:　Whenever I was involved in creating facilities, I always paid close attention to the beauty of symmetry. But after meeting Mr. Yamaguchi and discovering the appeal of Japanese gardens, I came to appreciate the beauty of asymmetry, and to understand how meaning can emerge from ma—the space between objects—and from their artful placement. The balance can completely change how it’s perceived.

I’ll never forget how I felt when I visited the Honjima Refuge this March. I realized how much importance Mr. Yamaguchi places on expressing both the foreground and the background—the garden and garden stones in the foreground, and the sea, mountains, and sky in the background. The sound of the wind and the waves, the building, the greenery of the garden, the verdant mountains, the wide sky, and the distant islands of the Seto Inland Sea left a strong impression on me. They evoked the rich, unhurried passage of time in the Seto Inland Sea and the timeless scenery of its islands. The way such scenery was created was truly captivating.

Yamaguchi: I really appreciate your kind words.

Iwamoto:　By contrast, ”MONOSPINAL” in Asakusabashi, also designed by Mr. Yamaguchi, stands in sharp contrast to the Honjima Refuge. From the outside, it’s impossible to tell what’s inside the building or how it’s used. But when you actually set foot inside, you notice how the exterior landscaping blends seamlessly into the eclectic streetscape of Asakusabashi.

Yamaguchi: I was intentional about not revealing any information about the building itself. Because its purpose is unknown, it serves as a backdrop, bringing even traffic lights and signs into sharper relief. The streets around Asakusabashi are filled with elements whose functions are immediately obvious—restaurants, wholesalers, traffic lights, signs, utility poles, and so on. With MONOSPINAL there, all these miscellaneous elements are brought into even sharper focus.

Iwamoto:　Indeed, at first glance, MONOSPINAL looks striking and unconventional, but over time, it blends into the scenery.

Yamaguchi: When it comes to scenery, my perspective on Marunouchi isn’t so different from the one I bring to the buildings I design. That’s why I’m so glad that Mr. Iwamoto, who is involved in developing Marunouchi, has taken an interest in my work as well.

Iwamoto:　Personally, I love looking at the view and skyline of Marunouchi from across the moat in the Imperial Palace Outer Gardens. To some people, it might just look like a row of similar office buildings. But each building is different, and once you step into the district, those differences stand out even more. Hearing that feeling expressed as “the juxtaposition of subtle differences” is a great encouragement for my work going forward.

Yamaguchi: In Marunouchi, the office buildings really work as a backdrop. When buildings make for a beautiful backdrop, human activity stands out as the main focus. That’s why people can take wedding photos at Tokyo Station. I think what makes Marunouchi appealing is that it has a cityscape where people take center stage.

July 8th, 2025