2025-07-16

Takanawa Gateway Station Part 2

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Timestamp: 2025/07/16・17:34
Fujifilm X100V with 5% diffusion filter
ISO 1000 for 1/250 sec. at ƒ/2
Velvia/Vivid film simulation

100 Colors at Takanawa Gateway
エマニュエル・ムホーが描く「１００色の道」


Just outside Takanawa Gateway Station in Tokyo’s Minato Ward, French-born, Tokyo-based artist and architect Emmanuelle Moureaux’s ｢100 Colors No. 53｣ bursts into view the moment you step out of the South Exit.

This installation features vertical slats painted in 100 distinct hues, each engraved with a year from 2025 to 2125 covering 100 years of 100 hues of the rainbow.

Moureaux’s choice of layered slats echoes a point she made in a Japan Times interview earlier this year, where she explained how Tokyo’s urban landscape inspires her work:

“Moureaux uses the term ‘layers’ to describe the way Tokyo is built, where various different elements are layered one on top of the other in any given space. She says she draws inspiration from this abundance of colors and layers.”
--Ran Kawai, Japan Times, January 31, 2025

Before visiting Takanawa Gateway Station and exploring the emerging Takanawa Gateway City development, I knew nothing about this artwork nor the artist herself. So it was a pleasant surprise to come upon this installment, and learning about Moureaux.

I often travel to cities from Aichi Prefecture to Nagano Prefecture, but almost always for work, either accompanying a client or photographing a property for real estate listings. 

This time was different, as I left the pro gear, suit, and tie at home and set out with no agenda other than to explore. Wandering familiar streets with a fresh perspective is always rewarding.

Inevitably, I stumble upon something new: a tiny Shinto shrine, a Buddhist temple tucked between two high-rise condos, a new public artwork, or perhaps a cozy coffee shop run by a couple in their 80s.


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Timestamp: 2025/07/16・17:45
Fujifilm X100V with 5% diffusion filter
ISO 250 for 1/250 sec. at ƒ/2
Velvia/Vivid film simulation

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Timestamp: 2025/07/16・17:47
Fujifilm X100V with 5% diffusion filter
ISO 3200 for 1/40 sec. at ƒ/8
Velvia/Vivid film simulation

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Timestamp: 2025/07/16・17:47
Fujifilm X100V with 5% diffusion filter
ISO 3200 for 1/60 sec. at ƒ/8
Velvia/Vivid film simulation

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Timestamp: 2025/07/16・18:38
Fujifilm X100V with 5% diffusion filter
ISO 250 for 1/250 sec. at ƒ/2
Velvia/Vivid film simulation

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Takanawa Gateway Station - Part 1

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  • “100 Colors No. 53” art installation just outside the South Exit of Takanawa Gateway Station in Tokyo, Japan
    • Timestamp: 2025/07/16・17:33
    • Fujifilm X100V with 5% diffusion filter
    • ISO 3200 for 1/210 sec. at ƒ/9
    • Velvia/Vivid film simulation

A Century in 100 Colors: Emmanuelle Moureaux’s Takanawa Gateway Installation
エマニュエル・ムホーによる高輪ゲートウェイのアート作品「100色の道」で描く100年の時の流れ


The French artist and architect Emmanuelle Moureaux created this vibrant rainbow installation, 100 Colors No. 53, just outside the North Exit of Takanawa Gateway Station on Tokyo’s Yamanote and Keihin-Tohoku Lines, which is just one stop north of Shinagawa Station.

Moureaux, who has lived in Tokyo since 1996, based the 100 Colors Series on a concept called shikiri (色切), which means "dividing and creating space through colors." This piece, displayed in Gateway Park, is the 53rd work in the series. Previous installations have appeared in locations worldwide, including São Paulo (Brazil, 2021), Downtown Dubai (UAE, 2018), Brussels (Belgium, 2017), and Carnegie Mellon University in Pittsburgh (US, 2015), as well as sites across Japan.

True to its name, each piece in the series incorporates 100  colors. For No. 53, each vertical slat is engraved with a year from 2025 to 2125, symbolizing “the passage of time in 100 colors.”

This area was once home to the Tamachi Depot. Old satellite images from November 2014 show the depot in its final days before the massive Takanawa Gateway City redevelopment began. The project is transforming the rail yard into a modern urban district with a new train station, four high-rise towers, office and retail space, luxury residences, schools, and entertainment facilities.

When I visited, my plan was simply to check out the new station, explore the high-rises, and maybe capture a few street shots. I hadn’t expected to find this striking artwork at the base of two gleaming steel-and-glass towers, so stumbling upon it was a welcome surprise.

There’s something refreshing about visiting Tokyo as a tourist with my small, lightweight camera, rather than as a my normal salaryman carrying a briefcase and wearing a necktie. It changes the pace, the perspective, and the way I see the city.

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  • Lone salaryman passing by the “100 Colors No. 53” art installation at Takanawa Gateway Station in Tokyo, Japan
    • Timestamp: 2025/07/16・17:54
    • Fujifilm X100V with 5% diffusion filter
    • ISO 160 for 1/150 sec. at ƒ/2.8
    • Velvia/Vivid film simulation

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  • Local office worker enjoying the splash pad at Takanawa Gateway Station in Tokyo, Japan
    • Timestamp: 2025/07/16・18:37
    • Fujifilm X100V with 5% diffusion filter
    • ISO 400 for 1/250 sec. at ƒ/2
    • Velvia/Vivid film simulation

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  • Student walking past the splash pad at Takanawa Gateway Station in Tokyo, Japan
    • Timestamp: 2025/07/16・18:38
    • Fujifilm X100V with 5% diffusion filter
    • ISO 320 for 1/250 sec. at ƒ/2
    • Velvia/Vivid film simulation
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2025-05-28

Nippon Maru

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The Swan of the Pacific: Yokohama’s Nippon Maru

太平洋の白鳥「日本丸」


Although I usually prefer to photograph Nippon Maru at night, when she’s beautifully illuminated, I decided this time to make an attempt to compose a few shots in the harsh afternoon light.

Nippon Maru is now a permanently docked museum ship at the former Yokohama Dock No. 1, just a four-minute walk from Sakuragicho Station in Yokohama’s Naka Ward, within the Minatomirai waterfront district.

Built in Kobe and launched in January 1930, Nippon Maru was designed to train officers for Japan’s merchant marine. During World War II, her masts and rigging were removed so she could serve as a transport vessel, which was possible thanks to her two 600-horsepower diesel engines.

Her training mission resumed in 1952 after her rigging was reinstalled, and she continued sailing until 1984. Over her 54-year career, Nippon Maru trained 11,500 cadets and covered 1.83 million kilometers; an equivalent to circling the globe 45.5 times.

The reason for building such a large training ship dates back to a tragedy in March 1927, when all 53 crew and cadets aboard the smaller training vessel Kirishima Maru were lost at sea. Authorities recognized the need for larger, safer ships, resulting in the construction of two vessels: Nippon Maru and Kaiwo Maru (the latter now also preserved as a museum ship in Toyama Prefecture).

Nippon Maru is a four-masted barque (also known as a jackass bark), with her tallest mast rising 46 meters (161 feet) above the waterline.

Twelve times a year, volunteers help unfurl her 32 sails, which span a total area of 2,397 square meters (25,800 square feet). I hope to return on one of those days to witness the ship in full sail -- a sight I assume that likely inspired her nickname, the Swan of the Pacific.

  • Location: Minatomirai, Yokohama, Japan
  • Timestamp: 2025/05/28・15:12
  • Fujifilm with 5% diffusion filter
  • ISO 1000 for 1/125 sec. at ƒ/10
  • Pro Negative High film simulation

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Timber Wharf

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Yokohama Timber Wharf: A New Landmark in Sustainable Design

サステナブル建築の新拠点、「横浜ティンバー・ワーフ」


Set to open in October 2025, Yokohama Timber Wharf features distinctive truss columns made from a hybrid of laminated wood and steel. This combination brings together the warmth and aesthetic appeal of timber with the strength and fire resistance of steel, ensuring both safety and long-term durability.

Designed by TJ Design & Architecture, the building presents a bold, forward-thinking vision grounded in environmental responsibility. The project aims to become a symbol of sustainable urban development, which demonstrates to future architects and developers the immense potential of wood as a primary material in modern city building.

From what I can gather, the facility will house a bakery and café on the ground floor, a restaurant suitable for weddings and events on the second floor, and a lounge, changing rooms,  baggage storage, and other amenities designed for runners, walkers, and outdoor enthusiasts. These features align well with local lifestyle habits, especially along the scenic waterfront promenade that stretches from Rinko Park to Yamashita Park.

I am encouraged to see more architectural projects in Yokohama embracing wood in their designs. Another notable example is Port Plus, completed in 2023. This high-rise training and education facility, also located in Naka Ward, uses advanced timber technologies to push the limits of what’s possible in vertical wood construction.

Projects like Port Plus and Yokohama Timber Wharf reflect a growing shift in Yokohama and Tokyo away from carbon-intensive construction materials, which have long been favored for cost-efficiency, earthquake resilience, and fire resistance, towards mass timber solutions. These new technologies make it possible to meet fire codes and seismic requirements while reconnecting with Japan’s deep-rooted tradition of wooden architecture seen in shrines, temples, and homes.

  • Location: Rinko Parak, Yokohama, Japan
  • Timestamp: 2025/05/28・14:09
  • Fujifilm with 5% diffusion filter
  • ISO 160 for 1/400 sec. at ƒ/2
  • Astia/Soft film simulation

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King Tower

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The King of Yokohama: A Glimpse into the City’s Art Deco Legacy
横浜三塔「キング」の歴史とアール・デコ建築の魅力

The Art Deco Kanagawa Prefectural Government Building is a striking symbol of Yokohama’s modern history. Seen from Port Opening Square (開港波止場) along historic Nihon-Odori Street, visitors can enjoy views of the harbor and attend open-air events in this cultural hub.

Completed in 1928, the building was designed in the image of a five-story pagoda and is designated a National Important Cultural Property. Its Japanese-style roof, known as Teikan-Yoshiki (Imperial Crown Style), blends traditional Japanese forms with symmetrical Western architecture making it one of the first examples of this hybrid design in Japan.

Geometric patterns in brown tile and marble appear throughout the building, reflecting the influence of Frank Lloyd Wright and the bold lines of the Art Deco movement. The structure is illuminated each night until 10 p.m., making it a dramatic backdrop for various Japanese TV dramas.

Affectionately known as “King’s Tower,” the building is part of the famous Yokohama Three Towers (横浜三塔):

・The King – Kanagawa Prefectural Office
・The Queen – Yokohama Customs Building
・The Jack – Yokohama Port Opening Memorial Hall

Legend has it that foreign sailors arriving in Yokohama first spotted these towers as they entered the port in the early 20th century, when no other tall buildings dotted the skyline. Before departing, many made a wish to return safely in hopes of one day seeing the three towers again.

A more modern version of the legend promises that if you visit all three towers, or stand at one of four designated spots in Yokohama where all three are visible at once, your wish will be granted. Three of these spots are marked by circular metal plaques embedded in the sidewalks and one painted on the roof of Osanbashi Pier.

Over the past four decades, I’ve watched as Yokohama’s skyline has grown ever taller. One day, these beloved towers may disappear behind walls of glass and steel, lost in the shadow of the very progress they once stood for.

  • Location: Kaiko Hatoba, Yokohama, Japan
  • Timestamp: 2025/05/28・13:23
  • Fujifilm with 5% diffusion filter
  • ISO 160 for 1/30 sec. at ƒ/8
  • Provia film simulation

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Mosaic Tiles

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A Gift of Gratitude: Yokohama’s Indian Memorial Fountain
横浜・山下公園の「インド水塔」：関東大震災に感謝を込めた記念碑


Yokohama began exchanging goods and culture with India in the 19th century, and Indian immigrants played a key role in the local silk trade. The Great Kantō Earthquake of 1923—one of the most devastating natural disasters in Japanese history—claimed over 100,000 lives across the Tokyo and Yokohama regions. Yokohama, a major port city, suffered extensive damage. Among the victims were 28 Indian merchants who had settled in the Yamashita district.

In response, the city provided relief to affected Indian residents, including the construction of emergency housing.

In 1930, Yokohama transformed a former earthquake debris dumping ground into what would become one of its most iconic tourist destinations: Yamashita Park.

To express their gratitude to the Japanese people who assisted them after the disaster—and to honor those who perished—the Indian community built the Indian Memorial Water Fountain in Yamashita Park. The memorial was donated to the city in 1939.

Constructed from reinforced concrete and topped with a copper dome, the fountain reflects architectural influences from the Mughal period (1526–1857), blending Indian, Islamic, and Japanese design elements.

A closer look at the fountain’s ceiling reveals a striking bronze lamp casing framed by a vivid mosaic of floral tiles. The intricate design exemplifies the fusion of Mughal and Japanese aesthetics, with its symmetrical patterns and vibrant colors.

In March 2023, the memorial underwent its first major renovation in 84 years. The restoration addressed typhoon-related damage and included seismic retrofitting to protect the structure against future earthquakes.

  • Location: Yamashita Park, Yokohama, Japan
  • Timestamp: 2025/05/28・13:10
  • Fujifilm X100V with 5% diffusion filter
  • ISO 160 for 1/125 sec. at ƒ/2
  • Velvia/Vivid film simulation

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Hikawa Maru

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Yamashita Park and the Queen of the Pacific: A Glimpse into Maritime History
山下公園と「太平洋の女王」


Yamashita Park offers one of the most picturesque views of the Port of Yokohama, which is highlighted by the presence of the Yokohama Marine Tower, Yokohama Bay Bridge, and the iconic NYK Hikawa Maru, a retired Japanese ocean liner permanently moored alongside the park.

The Hikawa Maru sailed from 1930 to 1960, primarily as a trans-Pacific liner connecting Yokohama with Vancouver and Seattle. In her prime, she was considered the most luxurious way to cross the Pacific, attracting select passengers including members of the Japanese imperial family, Charlie Chaplin, and Babe Ruth.

Designed to carry 331 passengers with 76 of them enjoying First Class accommodations, she was manned by a crew of 147. First Class travelers were treated to exquisite cuisine prepared by chefs trained in European kitchens, and surrounded by elegant Art Deco interiors. So beloved was the vessel that she earned the nickname “Queen of the Pacific.”

During World War II, the Hikawa Maru was repurposed as a hospital ship and a repatriation vessel for Japanese citizens and soldiers. Remarkably, she survived three mine strikes without sinking, thanks to her thick steel hull.

The ship also played a lesser-known but vital humanitarian role during the war, carrying Jewish refugees escaping Nazi persecution to safety in North America. After the war, from 1945 to 1947, she transported U.S. military personnel between Japan and the United States. In 1953, following a retrofit, she resumed service as a cargo-passenger liner until her retirement in 1960.

Since 1961, the Hikawa Maru has been anchored at Yamashita Park, where she has served as a floating museum, hotel, and restaurant. I first explored her beautifully preserved decks and Art Deco interiors in the mid-1980s.

Now, nearly four decades later, I hope to board her again not only to relive those memories, but to experience her timeless charm with the eye of a slightly more seasoned photographer with the companionship of nostalgia. Dogs are not allowed onboard, so I will have to visit when I’m able to leave my border collie at home.

  • Location: Yamashita Park, Yokohama, Japan
  • Timestamp: 2025/05/28・12:53
  • Fujifilm X100V with 5% diffusion filter
  • ISO 160 for 1/30 sec. at ƒ/8
  • Classic Chrome film simulation

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