emmanuelle moureaux visualizes a century with vibrant ‘100 colors path’ in tokyo

tokyo sees the opening of ‘100 colors no.53’

‘100 colors no.53,’ the latest installment in Emmanuelle Moureaux’s ongoing ‘100 colors path’ series, has opened at Takanawa Gateway City in Tokyo. Composed of 2,400 vertical lines, each rendered in one of 100 precisely selected colors, the work is both a spatial structure and a temporal map, charting a century’s worth of imagined futures.

The piece is installed in the newly developed Gateway Park by East Japan Railway Company, and marks the launch of Takanawa Gateway City, an urban complex built around a central transport hub in Minato Ward. As the first public installation unveiled with the complex’s debut, ‘100 colors path’ sets the tone for a neighborhood defined by openness and movement. ‘100 colors no. 53’ will be open to the public until July 21st, 2025.

images © Daisuke Shima

emmanuelle moureaux’s map of Color and Time

While Emmanuelle Moureaux’s ‘100 colors no.53,’ reads as a shifting gradient from across the Tokyo plaza, its internal logic is revealed up close as an accumulation of numbers layered within a calibrated spectrum. This way, the Tokyo-based French architect‘s characteristic use of color is an architectural material rather than surface treatment. Each line is inscribed with a year, beginning in 2025 and continuing sequentially through 2124.

The structural rhythm of the work is defined by uniform spacing and repetition. Lines are suspended vertically to create a passage that is simultaneously transparent and immersive. The numbers printed on the lines come in and out of view as visitors move through the piece, a kinetic effect heightened by the optical interference patterns of overlapping colors.

Emmanuelle Moureaux installs ‘100 colors path’ in Tokyo’s Takanawa Gateway City

a pathway carved through immersive color

At the heart of Tokyo’s ‘100 colors path’ installation is a central corridor which cuts through the colored grid. Emmanuelle Moureaux carves this passage to invite entry, allowing visitors to become momentarily absorbed in the spectrum of time. As people walk through the corridor, the visual rhythm shifts with their movement. It is a simple gesture, but one that transforms the installation from an object to inhabit into an environment to experience.

Inside, the work offers a tactile proximity to each color and year. The vertical density flattens at certain angles and deepens at others, underscoring the relationship between time and space in architectural perception. The effect is neither theatrical nor didactic — it is precise, open-ended, and responsive to movement.

the installation consists of 2,400 vertical lines arranged in 100 precisely selected colors

Beyond the park installation, the concept of ‘100 colors path’ has been extended throughout the station district. Moureaux designed related graphics for both north and south ticket gates of Takanawa Gateway Station, as well as the surrounding street flags. A complementary augmented reality experience titled 100 colors city allows visitors to engage with the installation digitally, activating the concept through smartphone interaction.

During the exhibition period, a public workshop invited participants to search for color in their everyday surroundings — an approach that reinforces the project’s central theme of color as a framework for observation and time. This alignment between physical installation and public programming strengthens the architectural relevance of the work in its urban setting.

a central corridor invites visitors to walk through the immersive color field

Moureaux’s 100 colors path continues her exploration of how color can be used to shape physical space and collective imagination. The numbering of each line, paired with a clear chronological arc, gives structure to what could otherwise be a purely aesthetic field. This linking of color and time brings a conceptual framework that is visually inviting, but also conceptually complex.

The installation references both the future and the present. The decision to begin during Takanawa Gateway City’s inaugural year of 2025 grounds the piece in its immediate context. Meanwhile, the choice to extend one hundred years forward transforms the project into a durational meditation on memory and urban growth.

each line is engraved with a year from 2025 to 2124, creating a spatial timeline of 100 years