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If the reds and pinks of Muralla Roja face outward — toward the Costa Blanca sun, toward the sea, toward the world — the blues face inward. Bofill assigned the cooler tones to the passages, courtyards, and recesses of the labyrinth: spaces of transition, of shade, of movement from one part of the building to another. This frame is entirely within that world. Wall, ledge, and window recess are all rendered in the same powder blue, the color shifting only where shadow intervenes: a deep diagonal cutting across the upper right, cast by something above the frame, dividing the wall into lit and unlit with the precision of a sundial. The window slot reveals the wall's full thickness — a glimpse of the interior beyond. The building turns its cool face to the camera and gives almost nothing away.
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