It could have been, if the projection had ended in the
trace of a pure rule. It could have been almost the
same: three elevated plans, each formed by three
rectangular exhibitions rooms, placed at two
consecutive faces and connected by ramps that run
on the two other faces. Then, a four-story-high
atrium rises between circulations and rooms,
creating a diagonal symmetry inside the building.
But the building is not just a rule. It is mainly
the materialization of a set of variations.