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Every frame in this series has been purely mineral — walls, shadows, sky, geometry. This one introduces something alive. Two subtropical plants rise from a terrace planter in the upper left, their spiky forms as resolutely organic as everything around them is angular and precise: a counterpoint that Bofill built into the design, the building's terraces intended as spaces for planting, for living, for the slow softening that habitation brings to architecture over time. Behind them, the stepped pink walls cascade in their characteristic rhythm, shadow slots marking each riser, the tall chimney on the right casting a diagonal across the face below. The sky is softer here — a pastel blue rather than the deep cobalt of the building's more graphic elevations — and the whole composition carries a different warmth: less like a painting, more like a place.
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