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Renzo Piano designed Central Saint Giles to be seen. Here, the yellow ceramic makes the argument on its own terms — catching direct sun while the structure beside it falls entirely into shadow, the deep black of the adjacent facade making the yellow appear to generate its own light. The windows are dark, the ceramic fins hold their bold shadows, and the neighboring building has almost disappeared into the dark. What remains is the simplest version of Piano's proposition: a yellow building, in a city that tends toward grey, insisting on being noticed. The shadow doesn't diminish it. The shadow is why it works.
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