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.