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From the time of its reconstruction in the early 1990s until its destruction in an Oct 2019 fire, the Seiden was the largest wooden building in Okinawa prefecture. Sadly, regulations did not require a structure of its size and character to have a built-in sprinkler system; this, combined with the inaccessibility of the site and the early morning outbreak of the fire, contributed to the ultimate outcome of the structure burning to the ground before firefighters could get the fire under control.<ref name=nhkfire/>

From the time of its reconstruction in the early 1990s until its destruction in an Oct 2019 fire, the Seiden was the largest wooden building in Okinawa prefecture. Sadly, regulations did not require a structure of its size and character to have a built-in sprinkler system; this, combined with the inaccessibility of the site and the early morning outbreak of the fire, contributed to the ultimate outcome of the structure burning to the ground before firefighters could get the fire under control.<ref name=nhkfire/>

Two stone dragon pillars, roughly three meters in height, flank the central stair of the Seiden;<ref>Prior to the 1890s, these dragon pillars are believed to have stood facing one another; however, evidence from the late 1890s and early 20th century show that by that time they had been turned to both face forward. When the Seiden was reconstructed in the early 1990s, these dragon pillars were once again placed so as to face one another. Interview with Matayoshi, 108.</ref> these, like just about everything on the grounds today, are reconstructions, though pieces of the pre-1945 pillars are now housed at the Okinawa Prefectural Museum. While most elements of the castle's design reflects Chinese, Korean, and Japanese influence, these dragon pillars resemble not those found anywhere in East Asia, but rather, a form distinctive of Ryûkyûan architecture, and perhaps bearing connections to elements seen in palaces and temples of Cambodia and Thailand<ref name=Kerr109/>, two of the many regions with which Ryûkyû traded heavily in the 14th-16th centuries. Dragons could also be found carved into and painted onto handrails, ceiling beams, and pillars throughout the structure<ref name=seiden>"Shisetsu annai: Seiden." Shuri Castle Park Official Website.</ref>.

Two stone dragon pillars, roughly three meters in height, flank the central stair of the Seiden;<ref>Prior to the 1890s, these dragon pillars are believed to have stood facing one another; however, evidence from the late 1890s and early 20th century show that by that time they had been turned to both face forward. According to conventional wisdom, this had been done mischievously by members of the Kumamoto Garrison. When the Seiden was reconstructed in the early 1990s, these dragon pillars were once again placed so as to face one another. Interview with Matayoshi, 108. As might be expected, however, individuals interviewed at the opening of the restored castle expressed that they remembered their parents or grandparents telling them that before the war the dragons had faced forward. Interview with Kinjô Mutsuhide 金城睦秀. "Shurijô fukugen watashi mo mimashita" 首里城復元　私も見ました. ''Ryukyu Shimpo'', 3 Nov 1992.</ref> these, like just about everything on the grounds today, are reconstructions, though pieces of the pre-1945 pillars are now housed at the Okinawa Prefectural Museum. While most elements of the castle's design reflects Chinese, Korean, and Japanese influence, these dragon pillars resemble not those found anywhere in East Asia, but rather, a form distinctive of Ryûkyûan architecture, and perhaps bearing connections to elements seen in palaces and temples of Cambodia and Thailand<ref name=Kerr109/>, two of the many regions with which Ryûkyû traded heavily in the 14th-16th centuries. Dragons could also be found carved into and painted onto handrails, ceiling beams, and pillars throughout the structure<ref name=seiden>"Shisetsu annai: Seiden." Shuri Castle Park Official Website.</ref>.

Though palaces in China, in accordance with the principles of Chinese geomancy, generally face south, those same principles were applied to Okinawa with the result that it was deemed most appropriate for the Seiden to face, not south, but west. It does so with the mountains at its back, facing the port of Naha, it being believed that dragon lines connect the two points, the palace sitting on a spot which is a source of energy, which then flows down to the harbor.<ref>Kitahara Shûichi. ''A Journey to the Ryukyu Gusuku'' 琉球城紀行。 Naha: Miura Creative, 2003. p11.</ref> Though Ryukyuan sources explaining this westerly facing have not been found, having the members of the court face east as they faced the throne may have helped heighten the association of the king with the sun (which rises in the east) and with ''[[nirai kanai]]'', the mythical origin of the gods, somewhere east across the seas; multiple [[Chinese investiture envoys]] suggested that the westerly facing was an act of propriety and loyalty towards China.<ref name=shuriqa/>

Though palaces in China, in accordance with the principles of Chinese geomancy, generally face south, those same principles were applied to Okinawa with the result that it was deemed most appropriate for the Seiden to face, not south, but west. It does so with the mountains at its back, facing the port of Naha, it being believed that dragon lines connect the two points, the palace sitting on a spot which is a source of energy, which then flows down to the harbor.<ref>Kitahara Shûichi. ''A Journey to the Ryukyu Gusuku'' 琉球城紀行。 Naha: Miura Creative, 2003. p11.</ref> Though Ryukyuan sources explaining this westerly facing have not been found, having the members of the court face east as they faced the throne may have helped heighten the association of the king with the sun (which rises in the east) and with ''[[nirai kanai]]'', the mythical origin of the gods, somewhere east across the seas; multiple [[Chinese investiture envoys]] suggested that the westerly facing was an act of propriety and loyalty towards China.<ref name=shuriqa/>