This lounge hall was once a place for worship where students read the Bible and sang hymns together. Today it is used for wedding ceremonies, concerts, and public lectures.
When going through the low ceiling entrance to the Hall, people anticipate reaching a natural and bright atmosphere enhanced by the windows. When they finally reach the place where the ceiling grows to its highest, there is a great sense of freedom and endless space.
The windows are impressively symbolic of the Myonichikan. After working on designing the stained glass windows, Wright used only clapboards and crosspieces to achieve simple and low cost architecture. Wright persisted on geometrical design. Before the restoration work, the design was adapted to be more practical. Windows were divided into upper and lower parts so that they could be easily opened. Based on the restoration principle, windows were restored to their original design to allow people to more vividly understand the history.
The mural on the wall was created by the students in 1931 to commemorate the school’s 10th anniversary. The theme of the mural is, “By day the Lord went ahead of them in a pillar of cloud to guide them on their way and by night in a pillar of fire to give them light . . .,” , a verse taken from Exodus 13 in the Old Testament, which is written in Hebrew, and is also part of the Jiyu Gakuen school anthem. Although the reason cannot be verified, this wall painting was once covered by plaster perhaps due to fear of the oppression by the government against Christianity during the war. However, this painting was discovered during the restoration work and the students at the time worked to restore it to its original state.
It is not known who designed this hexagonal chair or when it was desined, but we assume it may be either Wright or Endo as it is strikingly similar to a peacock chair from the original Imperial Hotel, which was designed by Wright.In the Hall and the Dining Hall, there are fireplaces back to back. Wright believed that when “people gather around the fire, it creates a commonly shared place of peace,” so he designed fireplaces in the residences he worked on. Oya stone, used also for the Imperial Hotel, was used by Wright extensively in his architecture in Japan. The fireplace, built firmly with a coarse feel and the taste of Oya stone, did not need to be touched even in the restoration work.