The Inner Way, 1999/2025
Light installation, LED, optical fibre, natural light

Slowly and almost imperceptibly, the colours of the light change, and with them the atmosphere in James Turrell’s passage installation. Clear blues and yellows give way to soft shades, before bathing the space once more in intense light – vivid reds and greens.

In 1999, James Turrell (b. 1943 in Los Angeles) created the iconic light installation The Inner Way for the underground passageway at Munich Re. Almost 30 years later, the renowned light artist has now further developed his work, setting light and colours in motion and thereby creating a unique new experience of colour and space.

The passageway, which connects Munich Re’s office buildings on the Schwabing campus underground, stretches for over 150 metres. The artist has precisely determined the course of the path, every bend and curve, to stage the light and space in a captivating manner and create impressive perspectives. He meticulously choreographs his ‘light image’ using artificial and natural light.
Invisible light sources illuminate the architectural space in a mysterious way, transforming it into an illusory space of light and colour. The space is structured by thin luminous frames made of optical fibres, which seem to cut through the space and act like barriers to be overcome.

At the centre of the curved passageway are two circular rooms, each topped by a dome. The dome of one of the rooms features a circular, glazed opening at its apex, through which natural light enters. It connects the interior with the exterior and opens up a view of the sky. The other dome, however, is closed. Through the skilful use of concealed light sources, the actual dimensions of the space remain hidden. The diffuse light-filled space seems to extend infinitely.

Whilst the original lighting installation is static, dominated by bright blue and yellow, the new lighting scheme changes dynamically. This was made possible by the switch from fluorescent tubes to LED technology as part of the technical modernisation in 2025.

In a sequence of seven composed colour worlds with fluid transitions, visitors can now experience how different contrasts, dynamic colour blends and moods have an immediate effect on the senses. The architectural boundaries of the underground space are virtually dissolved in the process. This creates an impressive, immersive spatial and colour experience. It allows visitors to immerse themselves in a world of light and colour – an experience that moves the viewer and subtly challenges their perception.

The Inner Way, 1999/2025
Light installation, LED, optical fibre, natural light

Slowly and almost imperceptibly, the colours of the light change, and with them the atmosphere in James Turrell’s passage installation. Clear blues and yellows give way to soft shades, before bathing the space once more in intense light – vivid reds and greens.

In 1999, James Turrell (b. 1943 in Los Angeles) created the iconic light installation The Inner Way for the underground passageway at Munich Re. Almost 30 years later, the renowned light artist has now further developed his work, setting light and colours in motion and thereby creating a unique new experience of colour and space.

The passageway, which connects Munich Re’s office buildings on the Schwabing campus underground, stretches for over 150 metres. The artist has precisely determined the course of the path, every bend and curve, to stage the light and space in a captivating manner and create impressive perspectives. He meticulously choreographs his ‘light image’ using artificial and natural light.
Invisible light sources illuminate the architectural space in a mysterious way, transforming it into an illusory space of light and colour. The space is structured by thin luminous frames made of optical fibres, which seem to cut through the space and act like barriers to be overcome.

At the centre of the curved passageway are two circular rooms, each topped by a dome. The dome of one of the rooms features a circular, glazed opening at its apex, through which natural light enters. It connects the interior with the exterior and opens up a view of the sky. The other dome, however, is closed. Through the skilful use of concealed light sources, the actual dimensions of the space remain hidden. The diffuse light-filled space seems to extend infinitely.

Whilst the original lighting installation is static, dominated by bright blue and yellow, the new lighting scheme changes dynamically. This was made possible by the switch from fluorescent tubes to LED technology as part of the technical modernisation in 2025.

In a sequence of seven composed colour worlds with fluid transitions, visitors can now experience how different contrasts, dynamic colour blends and moods have an immediate effect on the senses. The architectural boundaries of the underground space are virtually dissolved in the process. This creates an impressive, immersive spatial and colour experience. It allows visitors to immerse themselves in a world of light and colour – an experience that moves the viewer and subtly challenges their perception.

The Inner Way, 1999/2025
Light installation, LED, optical fibre, natural light

Slowly and almost imperceptibly, the colours of the light change, and with them the atmosphere in James Turrell’s passage installation. Clear blues and yellows give way to soft shades, before bathing the space once more in intense light – vivid reds and greens.

In 1999, James Turrell (b. 1943 in Los Angeles) created the iconic light installation The Inner Way for the underground passageway at Munich Re. Almost 30 years later, the renowned light artist has now further developed his work, setting light and colours in motion and thereby creating a unique new experience of colour and space.

The passageway, which connects Munich Re’s office buildings on the Schwabing campus underground, stretches for over 150 metres. The artist has precisely determined the course of the path, every bend and curve, to stage the light and space in a captivating manner and create impressive perspectives. He meticulously choreographs his ‘light image’ using artificial and natural light.
Invisible light sources illuminate the architectural space in a mysterious way, transforming it into an illusory space of light and colour. The space is structured by thin luminous frames made of optical fibres, which seem to cut through the space and act like barriers to be overcome.

At the centre of the curved passageway are two circular rooms, each topped by a dome. The dome of one of the rooms features a circular, glazed opening at its apex, through which natural light enters. It connects the interior with the exterior and opens up a view of the sky. The other dome, however, is closed. Through the skilful use of concealed light sources, the actual dimensions of the space remain hidden. The diffuse light-filled space seems to extend infinitely.

Whilst the original lighting installation is static, dominated by bright blue and yellow, the new lighting scheme changes dynamically. This was made possible by the switch from fluorescent tubes to LED technology as part of the technical modernisation in 2025.

In a sequence of seven composed colour worlds with fluid transitions, visitors can now experience how different contrasts, dynamic colour blends and moods have an immediate effect on the senses. The architectural boundaries of the underground space are virtually dissolved in the process. This creates an impressive, immersive spatial and colour experience. It allows visitors to immerse themselves in a world of light and colour – an experience that moves the viewer and subtly challenges their perception.