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Shot face-on, the facade loses all depth. Where the first image revealed the three-dimensional geometry of the balconies — the shadow, the projection, the zigzag of the railings — this view removes all of that. What remains is pure horizontal banding: color alternating with dark, red giving way to orange giving way to yellow, floor after floor, the grid so regular that the eye stops reading it as a building and starts reading it as composition. The color field painters of the 1960s worked in horizontal bands not unlike these — the stripe as a unit of pure color, repeated until it stopped being decorative and started being immersive. From this angle, Nouvel's facade makes the same demand. The building is still there. It's just doing its best to make you forget.
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