The way in mattered here. The first frame is the underground passage you walk to get there, all warm dim light and exit letters, a commuter cutting across the tactile paving. Then you come up the escalators and the Glass Hall opens overhead.
Rafael Viñoly's roof is the thing everyone shoots, and for good reason: a long elliptical hull of white steel ribs, like looking up at the inside of a boat. I shot it twice, once straight up at the lattice and once along the length to get the walkways crossing underneath. Switched to the 28mm for both; the 55 couldn't hold it all.
The concourse frame ran ISO 6400 in the gloom, wide open. The hall dropped to ISO 64 looking up and then to f/11 for the long view, the building handing me all the light I needed once I was inside. The concourse in the first frame is the underground passage at Tokyo Station, a few minutes' walk away.