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The ''ôhiroma'' (great audience hall) was among the spaces closest to the entrance to the castle, and thus furthest from the center of the complex. It was used for audiences with foreign emissaries or powerful ''tozama daimyô'', and for other highly formal ceremonies. By contrast, the ''shiroshoin'' ("white study / writing room"), closer to the castle's interior, was used for audiences with ''fudai daimyô'' and the shogun's relatives, while the ''kuroshoin'' ("black study / writing room"), closer still to the interior, was used for meetings with the shogun's most trusted retainers and highest-ranking officials. These two rooms were constructed in white wood and black lacquered wood, respectively.<ref>Arai Hakuseki, Joyce Ackroyd (trans.), ''Told Round a Brushwood Fire'', University of Tokyo Press (1979), 289n38.</ref>

The ''ôhiroma'' (great audience hall) was among the spaces closest to the entrance to the castle, and thus furthest from the center of the complex. It was used for audiences with foreign emissaries or powerful ''tozama daimyô'', and for other highly formal ceremonies. By contrast, the ''shiroshoin'' ("white study / writing room"), closer to the castle's interior, was used for audiences with ''fudai daimyô'' and the shogun's relatives, while the ''kuroshoin'' ("black study / writing room"), closer still to the interior, was used for meetings with the shogun's most trusted retainers and highest-ranking officials. These two rooms were constructed in white wood and black lacquered wood, respectively.<ref>Arai Hakuseki, Joyce Ackroyd (trans.), ''Told Round a Brushwood Fire'', University of Tokyo Press (1979), 289n38.</ref>

The ''ôhiroma'' contained three platforms of different heights, called ''dan'', allowing the shogun to sit not only at a distance from his formal visitors, but also physically above them. Wrapping around an inner garden, and thus forming a U-shape with the three ''dan'', were three antechambers, known respectively as the ''ni-'', ''san-'', and ''yon-no-ma''. The ''shiroshoin'' was arranged similarly, though on a smaller scale, with two ''dan'', two audience rooms, and two antechambers.

The ''ôhiroma'' contained three platforms of different heights, called ''dan'', allowing the shogun to sit not only at a distance from his formal visitors, but also physically above them. Only the highest-ranking retainers and guests were permitted to sit within the ''ôhiroma'', and then only in certain ''dan'', in accordance with their rank. Wrapping around an inner garden, and thus forming a U-shape with the three ''dan'', were three antechambers, known respectively as the ''ni-'', ''san-'', and ''yon-no-ma''. The ''shiroshoin'' was arranged similarly, though on a smaller scale, with two ''dan'', two audience rooms, and two antechambers. ''Fudai daimyô'' too wealthy/powerful to be entrusted with the authority associated with the positions of ''[[roju|rôjû]]'' or ''[[wakadoshiyori]]'' were seated in a nearby room known as the ''tamari no ma'', adjacent to the ceremonial chambers, and closest of all the ''daimyô'' waiting rooms to the shogunal residence.<ref>Mitani Hiroshi, David Noble (trans.), Escape from Impasse, International House of Japan (2006), xxv.</ref>

Beyond these various audience halls lay the shogun's personal quarters, along with the [[Ooku|Ôoku]].

Beyond these various audience halls lay the shogun's personal quarters, along with the [[Ooku|Ôoku]].