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The series closes on its most reduced composition. No red, no full warm spectrum — just yellow and orange, divided down the center of the frame by the zigzag railing, which here is more prominent than in any other shot. The panels project their full depth toward the camera: the triangular side faces visible, each level casting a shadow on the one below, the physical reality of the facade made unavoidable. Seen this close, Nouvel's approach reveals itself as something simpler than the full series suggests — not complexity for its own sake, but the precision of a single decision repeated: these two colors, side by side, at this depth, in this light. The boundary between yellow and orange, held in the frame, is where the whole facade begins.
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