A national treasure, the Akasaka Palace (赤坂離宮, Akasaka Rikyu) is the only Neo-Baroque style palace in Japan. Construction began in 1899 (明治32年, Meiji 32) and was completed in 1909 as the residence for the Crown Prince (東宮御所, Tōgū Gosho). Located in Moto-Akasaka, Minato-ku (元赤坂, 港区), the palace has since been repurposed as a state guest house (迎賓館, Geihinkan), hosting visiting foreign dignitaries from countries like the United States (アメリカ合衆国, Amerika Gasshūkoku), China (中国, Chūgoku), and members of the European Union (欧州連合, Ōshū Rengō). Touring Akasaka Palace offers an experience akin to visiting the White House (ホワイトハウス, Howaito Hausu)—a journey into architectural grandeur inspired by the Baroque Revival of the late 19th and early 20th centuries. Despite its splendor, it remains under the radar for many travelers—a masterpiece worth discovering.
Katayama Tōkuma (片山東熊, 1854年1月18日–1917年10月24日), a pivotal figure in introducing Western architecture (西洋建築, Seiyō Kenchiku), particularly French styles (フランス様式, Furansu Yōshiki), to Japan, was entrusted by Emperor Meiji (明治天皇, Meiji Tennō) to design and oversee the palace’s construction. The building’s two wings curve outward to greet arriving visitors, framed by a massive iron gate (鉄門, Tetsumon) adorned with golden crests. Following World War II (第二次世界大戦, Dainiji Sekai Taisen), management of the palace was transferred from the Imperial Household (皇室, Kōshitsu) to the Japanese government (日本政府, Nihon Seifu). It briefly served as a facility for the Cabinet (内閣, Naikaku) and the National Diet (国会, Kokkai) before being reborn in 1974 (昭和49年, Shōwa 49) as the State Guest House. A newly constructed Japanese-style annex, the Yushintei (游心亭), was added at this time. Designed by Taniguchi Yoshiro (谷口吉郎), a renowned architect best known for his redesign of the Museum of Modern Art (ニューヨーク近代美術館, Nyūyōku Kindai Bijutsukan) in New York, the annex complements the palace’s grandeur. That same year, U.S. President Gerald Ford (ジェラルド・フォード, Jerarudo Fōdo) became the first official guest, commemorating his visit by planting a dogwood tree (ハナミズキ, Hanamizuki) in the main garden, which still flourishes today.
The Main Garden (主庭, Shutei) stretches south of the palace, where a bronze fountain (青銅の噴水, Seidō no Funsui) adorned with Greek mythological creatures (ギリシャ神話, Girisha Shinwa) creates a scene of serene elegance. The fountain, along with the front gate and the palace itself, was designated a National Treasure (国宝, Kokuhō) in 2009—the first Meiji-era structure to receive this honor. Despite its central location in Tokyo, the fountain’s placement below the main building blends harmoniously with the uninterrupted skyline. In 2016 (平成28年, Heisei 28), the palace opened to the public, inviting visitors to explore its remarkable interiors and gardens.
Inside, Neo-Baroque elements (ネオ・バロック様式, Neo Barokku Yōshiki) intermingle with Japanese (日本的, Nihonteki) and Western symbolism (西洋象徴, Seiyō Shōchō). In spring, Japanese plum blossoms (梅の花, Ume no Hana) grace the gardens, followed by blooms that change with the seasons. Visitors can take an indoor tour of the lavish interiors, beginning with crimson-carpeted halls and a grand staircase adorned with golden acorn motifs. The tour ascends to the large second-floor hall, where checkerboard-patterned floors and Italian marble (イタリア大理石, Itaria Dairiseki) gleam beneath Corinthian columns (コリント式柱, Korinto-shiki Hashira) of Breche Violetta stone. Rooms such as the Hagoromo no Ma (羽衣の間, Heavenly Robe Room) and Kacho no Ma (花鳥の間, Hall of Flowers and Birds) exceed the extravagance their names suggest, offering glimpses of a bygone era’s opulence.
Among the highlights are two oil paintings (油絵, Aburae), Music (音楽, Ongaku) and Painting (絵画, Kaiga), by Koiso Ryōhei (小磯良平, 1903年7月25日–1988年12月16日), a Japanese artist who also created wartime art depicting historical scenes. These works flank the walls of Asahi no Ma (朝日の間, Sunrise Hall), the highest-status room in the palace. It is here that the Emperor and Empress bid farewell to state visitors, and where summit meetings and courtesy calls are held. The hall’s large mirrors (大鏡, Ōkagami) deepen the space, while chandeliers (シャンデリア, Shanderia) modeled after those of Louis XVI (ルイ16世, Rui Jūroku-sei) radiate a dignified brilliance. A ceiling mural (天井画, Tenjōga) depicts a woman driving a chariot pulled by four horses—a striking centerpiece in a room of velvet curtains (ビロードのカーテン, Birōdo no Kāten) and cherry blossom motifs (桜の模様, Sakura no Moyō). No photos are allowed, preserving the surprise for those who visit.
Akasaka Palace is a must-see destination, blending the grandeur of European gardens with architectural marvels that would make Napoleon blush. It stands as a testament to Japan’s embrace of global influence while preserving its unique cultural spirit.
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