Central Saint Giles doesn't transition between colors — it switches. At the corner where grey ceramic meets red, the change is immediate and precise: one face of the building ends, another begins, and there is no negotiation between them. Shot at this junction, the photograph catches the building's color logic at its most explicit point. Piano didn't blend or graduate the colors; he drew a line. The grey holds its face; the red holds its face; and the gap of shadow between them — where the two sections meet and pull apart — is where the architect's thinking becomes a physical edge.
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