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This is the frame where the building's color logic reveals itself whole. Yellow on the left, grey in the center, red on the right — three of Central Saint Giles' primary faces visible simultaneously, each asserting its own tone against the deep blue sky. Mondrian worked in primary colors separated by black lines; Piano works in primary colors separated by building corners. The structure of this composition is remarkably similar — geometric, deliberate, primary — and the sky performs the same function as white in a Mondrian grid: the neutral field that makes the colors speak. Shot at the roofline where the building's faces separate against open air, it reads less like a photograph of architecture and more like an argument for color itself.
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