By a decision on 9 October 1900, a career Swedish-Norwegian consulate general was established in Kobe with the whole of Japan as a district.

[2] By a decision on 28 September 1906, the consulate general in Japan was assigned to King in Council's minister there, Gustaf Oscar Wallenberg.

Wallenberg served as consul general from the same date and as envoy extraordinary and minister plenipotentiary from the same year.

At the beginning of 1945, 19 Europeans were employed at the Swedish legation, along with a numerous staff of Japanese men and women.

[22] During the summer of 2023, the embassy temporarily moved to the ARK Mori Building in Akasaka due to renovation work expected to be completed in 2026.

[23] The Swedish Embassy in Tokyo has approximately 30 employees across various functions, including the ambassador, political and environmental officers, economic and trade officials, cultural and public diplomacy staff, consular and administrative personnel, defence attaché staff, and members of the Office of Innovation and Research.

In addition to a vibrant business and trade exchange, the embassy collaborate in areas such as science, innovation, creative industries, and education, as well as on the international stage through bilateral and multilateral cooperation.

He had with him a sketch that was approved by the National Swedish Board of Public Building (Byggnadsstyrelsen) and the Ministry for Foreign Affairs.

In step with the expansive economic development in Japan, land prices rose considerably in this central area, which was rather sparsely populated.

In the mid-1980s, the embassy was contacted by the neighbor Mori Building Development Co., Ltd. which is one of Japan's largest real estate companies.

They wanted to discuss a renewal of the area, make a more economical development with the integration of housing and offices according to Tokyo's city plan program.

Professor Michael Granit, who had participated in the discussions on the city plan issue, was hired as the architect for the new embassy building.

All drawings were translated into Japanese, the dialogue worked well, but the most important partner for Granit for the design of the building, garden and terraces was the sculptor Sivert Lindblom.

The vision was to create a contrast between the façade's red Vånga granite [sv; de] and the classic dark gray paving stone as a Swedish greeting, but the Japanese construction company did not have this reference and ordered domestic light gray stones.

The environment is characterized by the Swedish standard that was developed in connection with the rebuilding of the Parliament House in Stockholm.

In contrast to it and the red stone of the façade, Kicken Ericson has created a carpet with a green and earth-colored pattern.

The garden feeling is enhanced by Åke Pallarp's marbled green murals and the trellis decoration on the tiled pillars.

The residence is reached via a separate entrance where Axel Munthe's large textile Dalagång gives the visitor an introduction to an environment that summarizes seven decades of Swedish interior design art – from 1920s neoclassicism to the late 1980s postmodernism.

The walls of the hallway are clad with curly birch panels and in its extension has a view through the atrium and the small dining room to the terrace.

[18] The almost square room has been furnished with three 'islands', four groups of seating arrangements gathered around low tables and between them a spacious space that through the large glass doors also incorporates the conservatory – the terrace.

[18] The art has a similar range from Einar Jolin's Stockholmsmotiv, Felix Hatz's Vissnande solrosor, Hans Viksten's Ljussegel to Barbro Lind's Segelbåt i vik.