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Jean Nouvel conceived Hotel Puerta América as an anthology — twelve architects, twelve different floors, twelve entirely distinct interiors. But the exterior he kept for himself. What he made there is not an architectural statement in the conventional sense: it is closer to a declaration about color. Three bands of warm hues — red giving way to orange, orange giving way to yellow — run floor after floor, each level a horizontal plane of saturated pigment interrupted only by the dark recesses of the windows. Shot tight against the facade, the zigzag railings become the only geometry left in a frame otherwise devoted entirely to color. The building has left its address far behind.
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