Behind the scenes on a photo tour of the Kyoto International Convention centre

And space is what is needed to house this epic building. Walking to the conference centre through the surrounding park offers a glimpse of the impressive reinforced angled beams and roof structure. It can’t be a coincidence that the design of inverted triangles resembles a shogun warrior’s headgear.

Approaching the main grounds of the complex, neatly tendered flowerbeds and flagpoles adorn the sides of the entrance roads. Supplementary buildings have been added later to accommodate further conference facilities. However, walking under the purpose-built canopy from the station along the road, you arrive at an open space that provides ample room for taxis. Even the canopy, made of concrete pillars, is given attention. At this point you realise you are approaching something special.

The 68-degree angled textured concrete walls of the main corridor you walk through from the entrance, although dark grey in colour, due to the fittings and natural light above, give a sense of security – it is in no way claustrophobic.

Colourful and graphical modern art adorns walls near further reception and cloak facilities. Reinforced angular concrete beams are visual patterns throughout the main concourse area.

Natural light is again prevalent thanks to the large windows overlooking lake Takaragaike. Before we get onto the extensive landscaped Japanese garden leading to the lake however, one has to experience the main conference hall.

Walking out of the Centre to the rear there are overlapping concrete pathways that draw you to the lake. Again, the blend of modernism and traditional Japanese features are achieved to perfection.

As you look out to the lake and mountains ahead, turning around you witness the scale of this brutalist building. This space acts as a tranquil mediator between building and nature – another defining characteristic that Japanese architects seem to do so harmoniously and so well. It must be down to their affinity with nature.

One of the greatest pieces of Japanese modernist architecture is the Kyoto International Conference Centre; a megastructure of exposed concrete, designed by Japanese architect Sachio Otani in 1963. Positioned at the northern edge of the city, it is easily accessed via the city’s underground train.

When exiting Kokusaikaikan subway station you immediately notice the topography. Being that bit closer to the wooded hills and mountains to the east that overlook the city it becomes apparent, along with the suburban houses and shops offering a laid-back affair, this purpose-built international centre has been positioned deliberately where there’s more space than in the city centre.

When I visited in 2019, as I was snapping away a good thirty metres back from the main entrance, a member of staff walked out to greet me. As a photographer you get used to various security guards or receptionists questioning why you are near the building’s proximity and taking photos. I was pleasantly surprised on this occasion though that the conference centre worker was actually encouraging me into the building. Apparently, they hold an open day twice a year where members of the public can tour the building for free, as well as sample local market-stall goods – my lucky day!

When making your way through the Centre another key element of the building, which simply cannot be ignored, and apart from the masses of lovely concrete, is the interior design. Isamu Kenmochi collaborated with masters of the time, including Tange, to revitalise Japanese traditions as “Japanese modernism”. From the rippled carpets underfoot, to the geometric lighting fixtures and hexagonal, pure sixties lounge seats, Kenmochi’s touches are abundant and give the feeling of entering a space-age future. And who doesn’t want to enter a space-age future?

During the open-day, we ventured into the darkened two-thousand seater hall to be greeted by the sounds of a trio of classical musicians performing on stage. On the ceiling, an extremely large disc reflector acts as an acoustic aid and lighting feature. Carpet is prevalent with it caressing the rear of the seating benches. At this point, you can really start to see Otani and Kenmochi’s mission achieved: stupendous engineering scale with modernist details will have no doubt impressed any international or indeed local visitor at the time of opening. To the rear of the stage, metallic decorations nod to the structure with geometric and triangular being key themes throughout the gorgeous backdrop.