1. rtJllsie1; ,Hodel ofthe Palais des CUllgres-Stral>/)01wg, Fm?tcp, 19GJ-v.,.

3. Textual Heresies
Le Corbusier. Palais des Congres-Strasbourg, 1962-64
One of Le COl'busier's earliest drawings of the Parthenon is a key to the
evolution of his architecture during a period spanning the two world wars
and leading to a critical inflection point with his project for the Palais
des Congres in Strasbourg. The drawing, probably done at the tune of
his Voyage d'Orient, shows the Parthenon in the left foreground, its col-
umns and base providing a Cartesian fratnework for the drawing. But on
the right, in what seems to be an impossible view given the Parthenon's
distance from the sea, is the harbor of Athens with its shoreline and sur-
rounding mountains. This drawing is an early manifestation of what was
to become an evolving obsession: the dialectical and tensioned interplay
of the figure with the Cartesian grid, which appears inhis earliest Purist
paintings and continues throughout his career, evolving from a two-dimen-
sional figures to three-dimensional figures.
While the concept of gridded Cartesian space is readily understandable
in the work ofLe Corbusier, the concept of the figural as different fromany
free-form shape emerges in the context of post-structuralism. This idea is
based on Gilles Deleuze's discussion of the paintings of Francis Bacon. In
his 1981 book, Francis Bacon: Logique de la Sensation, Deleuze distin-
guishes figuration from the figural. Figuration refers to a form related to
the object that it is meant to represent. Rather than defining a form, the
figural is that which is produced as a register of forces. Here,!o'1'ces is the
operative term. In the case of Bacon's portraits, the figure is distorted by
internal pressures while the paint of the canvas-scrubbed, smeared-
addresses these forces in the very materiality of the painting. The figural
no longer expresses an iconic form or figure, but rather dOCUlnents the
encounter of matter-paint, canvas, painter, and sitter-and forces-both
/4
physical and psychological. As a regi>itcr of' such
the human no longer presents
as a discrete, clear I'm'm, but rather in
what can be called an wldecidable relationship
with the canvas; the outline of the whole figur
is blurred to become an assembly of partial fig-
ures that neither cohere, nor strive to create
a clistinct and understandable form. This shift
from whole to what are being called partial fig-
ures,which themselves m'e a physicall'esidue of'
forces acting on whole figures, cOlTesponds to a
shift in Le Corbusier's architecture from his pre-
war interest in a dialectical interplay between
figure and gJ.id to, late in his career, an inter-
nally generated critique that severs the prior
dialectic. Instead, a of figural conditions
are produced which have the quality of partial
figures, In his postwar work, I.e Corbusier also
challenges the precepts of his "Fi\e Points," in
which free plan, pilotis,fenelre en longueur, free
C' ollgr(,:!'
facade, and rooftop terrace were characLeJ'istic
of his prewar work.
It could be argued thai Le Corbusier's earl
architecture an attempt to transcend
the limits ofpainting, which he theorized in his book
Afte) f'ubism, Wl'iUen with Amedee Ozcnfant. If
cubist painting was marked by a ten1'ion between
the frontal pictw'e plane and spatial depth, Le
orbusier's architecture strained to both inCOl})O-
rate and overcome the tenets of frontal and flat-
tened cubist space in a three-dimensional matrix.
This integration of a three-dlrnensional, figured
quaHty began early in his career with his Pmist
period paintings and his 1914 Dom-ino diagTam.
In the Dom-ino diagram, Le COl'busier introduce
the Cmtesian gl'id as a structural system that
could produce an infinite horizontal extension 0
space. This diagJ.'am conceptualizes veli-ical cir-
culation as a legible figure or what can be consid-
ered a figured element, which is pulled out of the
stacked horizontal slabs. The Dom-ino diagram
31ticulates Le Corbusier's concern with integrat-
ing a tlu'ee-dimensional figured element into a nec-
essarily reticulated condition of architecture.
Le Corbusier's Dom-ino diagl-am prefigured
the "Five Points" articulated in his 1923 book Vel's
tine Al'clzitectu1'e. In the Dom-ino diagram, the
columns are set back from the facade to create a
free plan and a free facade: the fiat roof becomes
the pl"ivate space, and the floor slab 1::; lifted off
the ground to produce a horizontal continuum
f Rpace. The primitive foundation blocks in the
place of pilatis initiate a critique of architectme's
relationship to the ground: figure in architecture
had always been tied to the ground, so much RO
that it was defined as a figurc/gl'ound relation-
ship. The idea of' the pilotis originally displace::;
architecture, lifting the building off the gJ.'olmd
literally and conceptually to initiate a more com-
plex dynamic of figure and ground,
I.e Corbusier's early canonical buildings-
Villa Savoye U) Poissy and Villa Stein at Garches-
Palais des congl'cs
3. p(llais des Congres-Stmsbonm, model, 1962.
develop the diagl'am offered in his "Five Points,"
and introduce a more strongly figw'ed condi-
tion in the circulation, The early sketches for
Villa Savoye document the mo\'ement in Rec-
tion generated by the ramp, which takes up the
movement of the car as it enters underneath the
building and then engages the subject in a spiral-
ing up through the building to the roof garden.
The ramp as a figured element creates and reg-
isters a kind of vortex of centrifugal energy. This
entrifugal motion in the Cartesian space of the
building generates an energy from the center to
the periphery, Similarly exemplifying the "Five
Points," the Villa Stein emphasizes both figured
elements and the gJ.idded envelope of the villa's
stlucture, which retains a cubist or layered flat-
ness resembling a vertically stacked deck of cards.
The facade at Garches presents the collapse of
the space of the plan into the vCltical plane of the
facade, which becomes an index of the collapse of
If)
real space into a single moment in space and time.
Tins collapse of pcrspective also becomes a cri-
ique of monocular perspecti\'al vision. The mol'
strongly figured elements ofGarches are the CUl'\' -
ing free-form walls and the promenade al'chitec-
tumle, which is inserted into the l'eal' facade as '
staircase, Figw'ed form also appears in two stair-
cases and in the cutout of the balcony and eating
area, yet these figures remain more lU1ear Ulan
volumetric. In these early works, the figured cle-
ments are implicated in a dialectical relationship
to the absb'act grid of Lhe buildings' plan, facades,
and sectioll.
The relation ofgl'id to figure in Le (' orhusier's
postwar work changes dramatically from the
gJ.id-dominant systems of his prewar building5.
The figured element becomes increasingly \'olu-
metlic, indicating a shift in his attitudes toward
both abstraction and the ligure. In Runchamp,
the Philips Pavilion, and Chan<1igal'h, fully Lhl'ee-
iii Palais des Congrb Patak de;; Congres /,
I<
4. Vill(l SIII'()ye, 1928.
dimensional stand out against the grid, yet
the grid remains legible. 1"'01' example, while the
figure seems to dominaLe in the sculptured forms
of Ronchamp. the grid is present in the floor pat-
terning, which is part of Le COl'busier's modular
system of proportiomi, and a virtual 01' impliecl
gl'id is legible from the building's f"outh elevation.
he square punctures in the facade register a ten-
sion between an implied veltical grid and the slop-
ing wall, as if the holes were tethers maintaining
the e:\.'terior wall's curve. The tension in the curve
comes from the implication that if these connec-
tions were cut, the wall \"ould snap back into a
flat vertical plane. The notation of these openings
in the thickened figured wall plane indicates that
the curved wall is not a gratuitous curve, but
rather refiects an internal t.ension between th
figured surface and a virtual. griddecl plane.
If the prewar work the linear
igw'ebecomingincreasingly three-dimensional, it

could be argued that Le COl'busier's postwar work
begins with the fully articulated ftgw'e, which is
increasingly deformed into a series of partial
ores. In his Parliament Building at Chandigal'h. a
giant cylindrical element breaks through the roof,
becoming a dominant featw'e of the roofscape as
a fully three-dimensional figure. Yet this figure
is hidden behind the orthogonal blocks that form
5. Not,'e Dame d'U Haul, Ronchamp, 1950.
each of Ule parliament's facades. Chandigarh also
marks an important departure from the planar,
free facade of Le COl' busier's "Five Points":
Chandigarh's deep tn-i.se-soleill'eplace thefenetre
en longueunvith a honeycombed mass; this motif
is repeated in Harvard's Carpenter Center, La
Tom'ette, and Strasbourg.
La Tourette can also be related to Strasbourg
by means of a rotational energy established by
the pinwheeling organization of its lower floors.
A geometrical figme is established in the form
f a blunted, three-sided pinwheel. Another kind
of rotation animates the facade of La Tom'ette,
according to Colin Rowe's analysis, yet this rota-
tional energy retains the tension provided in the
fi'ontal plane. In the Carpenter Center this rOl.a-
tional energy becomes increasingly explicit: the
paired lobed forms of its studios and exhibition
spaces seem to revolve around a central core,
which anchors its large S-shaped main ramp.
Despite the contradktory internal movements
at the Carpenter Center-its lobes spin counter-
clockwise and the internal ramp rotates
up to the third floor-it could be argued that each
component is mticulated as a separate figure: the
S-shaped main ramp, the lobed studio and exhi-
bition spaces, and central square fo}'m are COlD-
pressed together, yet they remain identifiable as
6. Hall, Clw.lIdignrh.195.j-6b
complete and separate parts. Similarly, a number
of the precepts of Le COl'busier's "Five Points"
remain apparent with elongated pilotis, the free
plan, rooftop terraces, and briBe-sole-il occupying
the horizontal openings formerly allocated to the
fenetre en longu.euf.
The centrality of the ''Five Points" in Le
COl'busier's prewar work suggests that the points
served as a foundational diagram from which
each building draws, but inflects differently.
This indicates the capacity of the ''Five Points"
to serve as a text for his early buildings, in the
sense that a diagram is an architectural form of
a text. If the idea of a text is established in Le
Corbusier's ''Five Points," it is his inversion of
the "Five Points" and his turn away from the
legible figure toward partial figures that sug-
gest that Strasbourg can be read as heretical to
his prior architectlU'al t.exts. There are a mm1ber
of didactic deviations from the "Five Points" in
Le Corbusier's postwar work; the bl'iBe-soleil
replacing the free facade is only one example. Yet
Le COl' busier's Congrs-StrasbouTg
becomes the summation of an evolution in a
textual language, on the one hand in its didactic
refutation of each of the "Five Points," and on
the other in its movement away from a dialecti-
cal relationship between figure and grid. If the
7. PaLais des Cougl'es-Strltsbolll'g, l>'1te plan, 196w.
text of the figure/grid relationship is scripted in
Le Uorbusier's prewar work, the postwar work
deYelops the idea of the figure, from a whole and
discrete element into one whose vel-Y wholeness
is questioned. 'The figure becomes deformed into
a series of partial figwes. As an heretical te};.i;,
the Palalli des Congl'es engages both a dialecti-
cal system refuting the "Five Points" and a non-
dialectical system pursuing the evolution of the
figure from a discrete tltree-dimensional entity to
a dispersed series of figural elements whose con-
tours become increasingly undecidable.
With the Palais cles Cong1's, a project beg-un
in 1962, only a year after the Carpenter Center,
many of the relationships established in La
Tourette and the Carpenter Center are inverted.
First, the relationship of building to gl'ound is
profoundly different at Strasbow'g. No longer d
pilotis preserve the horizontal flow of the ground
below the building. Instead, the gl'o1.lJ1d plane
becomes a honeycombed plinthlike ba.."e. whose
very solidity is fmther questioned as the gr01.111
is cut away in such a mam1er to suggest that
the base is floating. The sloping ground around
Strasbourg's base creates a double reading of
both plinth and pilotis. Similarly, the precepts of
free plan and free facade are inverted. Just as the
brise-soleil counters the planar facade with depth,
--
71'
PalmsdesCongl'e" desCongrb T!l
H. Jlct/ais Crmf/res-SII'Us/)o//I'O, spr-l;rllLllO,.t/t-scmth. 196f2.
shadow, and thidmesi', so lOU doe!'\ thefree plan
become byageometricalfigureresem-
blingthepinwheelol'ganizationofLaTourettein
Strasbomg'sgroundlevel. Finally,thehorizontal
surface of theroof gardenbecomes a figuralplane,
which is tipped, l and torqued.
If circulation had previously registered
bothaccntlifl.lgalfOl'ce and adistinctfigural ele-
mentin Le Corbusier'secu'lier work, therampat
Strasbourgregistersbothcentripetalandcentrif-
ugalforce" aswellasacritiqueof
the legible whole figurE', Tbe figure oftheramp
is the most significant indexfor thedevelopment
ofthe8tl'asbom'gscheme.Astudyofthecarliest
St.l'asboul'gschemesof1962revealsthatthel'amp
was envisioned asa distinct figure form-
ingan unbroken loop through the building. The
first, 19G2 schemeisanarticulatedgquarein plan
with a giant straight ramp entering the square
form from the corner and a pair of'
lobedrampsprotrudingfrOll! the11001:h andsouU,
sides ofthe l'quare in an echo of the Carpentel'
'enter. The giant ramp leadf: up to the :;econtl
floor, whereitdividestoform pairedrampson the
northside,which reach up aroundthethirdfloor
andleadontotherooI.Therampformsacomplete
entityaroundthebuilding,andin thel'iecond-floor
planishighlighledasanindependentfigure, a'iis
the pinwheel figure ofthe floor below. In a sub-
sequent plan, the giant ramp is rotated ninety
degrees and positioned to align axially with the
giantlobed rampon thenorthsidc,replacingthe
small southern lobed ramp ofthe initial plan. In
thissecondscheme,reproducedinLeCOl'busier's
Oem.tres Compfete, the bi-lobed organization of
the Carpenter Center has been edited, signal-
ingLeCorbusier'sdepartm'efrom whole figures
and movement toward the paltial figure. This
becomesapparentinthefinalschemeof thePalais
des Cong1'es, where the yelJ' figure ofthe ramp
seems to shift its weightto the westin counter-
point to the dominant axiality ofthegiant ramp
extending south. More significantly, the ramp's
figm'E' i:=; no longer whole; thefigure oftheramp
seemstosplitin severalplaces,no longerlooping
through the buildingbutratherspiralingaround
thestmctw'e.Therampcan beconceived ofasa
series ofpartial figures which no longer cohere
like the independent ramp ofthe eaJ'ly scheme.
Thus, Strasbourg'sfinalschemeis animatedbya
'onditionofcomplexpartialfigures.
The figw'e assumes a different role at
Stl'asbourgintJ1ut itis no longerdefmedinrela-
bon"hip to thegrid. Strasboul'gis signif1callt in
Le COl'busier's oeuvre as a depmture from the
grid/figure dialectic. This depalture appears in
two different conditions: as a partial figure and
as an undecidable condition of the ramo: is it

--'=- :;. -..----=--=..=--;.::.
/

.,. Palrt;5; del'- Congl'es-Stralibourg, uieu' ofealil eleuutiol/. 1962.
I
centripetal or While the figural is
oftenseenasasystemofmovement-andthisis
no less truE' in Strasbourg-theprojectinvokes
both centrifugal and centripetal forces, which
firstmove outwardthroughtheCartesianenclo-
sureofthebuildingand thentm'nback,spil'aling
inward.Thesubjectbecomesinvolvednotonlyin
thefigural rampbutalso in the breachingofthe
container, the pJ'ism pOx ofCartesianspace that
wasarticulatedinthe"Foul'Compositions"byLe
orbusier.Unliketherotationontheentryfacade
ofLaTourette,which,in Rowe'sanalysis,retains
thetensionofafrontal plane,therotationdevel-
ped atStrasbourgis no longer dialectical with
respecttoanyfrontalplane,butratherregister!'!
simultaneously as centl'ipetal and centrifugal in
planandsection.
In respect, Le COl'busier's project for
Strasbourgmarksan important movement near
the end ofhispostwarcareer.Stl'asbourgis also
ananomalyint.hisbook, foritisnotahingebuild-
ing within the particular career of an architect
butratherahingebetweenLeCOl'busierandthe
architects that draw on his legacy. In exploring
thefiguralatStrasbourg,LeCorbusierblursthe
largefigures ofthe ramp by dispersingthemas
paltial figures atthe upper:floors. Similarly, the
didacticnatlU'eof the"FivePoints"andthedidac-
ticdevelopmentofthefigme againstaCaItesian
g1idbecomeincreasinglyblurredasLeCOl'busiel'
explores the potential ofthese pmtial figtu'es at
Strasbotll'g.
Thisbuildingoffers a missinglink bet.ween
theformal strategiesofthehighmodernist"Five
Points" and those apparent in Rem Koolhaas's
n'esGrandeBibl:iothequeandJussieuLibraries.
StrasbolU'g is the forerunner of both Koolhaas
projects, in that the object is no longer merely
containedint.he volumetricendosurebutrather
asel;esofforces push theobjectoutthroughthe
exteriorcnclosm'eoftheobject,whilethemove-
ment of the subject continues to circumscribe
the volume. The discontinuity between succes-
sivc hOl;zontal plan levels at Strasbourg will
ultimately appeal' in Koolhaas's Delirious New
Yo,.k and his French library projects. Lastly,
Strasbourgshiftstheideaofunderstandingfrom
seeingtotheexpelienceofmovement.
The Palais des Congres-Strasbourg estab-
lishes an internal clitique of what could be
onsidered the prewar "texts" embodied in Le
COl'busier's "Five Points," Finally, in the evol\T-
ingchangesin the actsofclose reading, legacies
of the formal and the conceptual remain. What
becomes visible ill the Strasbourg project as a
pivotaldevelopmentofLeCorbusier'sthoughtis
the new figural conditionofthesubject'sexperi-
enceoftheobject.ThisVlrilliead forexampleto a
"'1
r
I
.

-----I ''<, .........
I l__"
,
tT
lJ. Palo is de::; COl/rrres. 7)[all leoe! .J.
11. C01lgl'eS, plall level.).
CJ
=:;:; ;::::;
.:=:; :=:
:::.s;s=
=:=;=.
::::=;=

--.
es plan l('1'el 4.

-,--.----
/' - /1--
/"- -'"'-"",
; .... ,
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== :::::;
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,,"'.
t
n
12. Pal
10. Pa.lais des C'ongres, plan level 2.
Palai" rle>' def' Conl!"l'es

different necessity of close reading in Koolhaas's
Jussieu Libraries, Strasbourg, unlike La Tourette
and Chandig-arh, pl'Oposed an entire other series
of pl'oblematics not addressed in either phase of
Le COl'busier's previous work. In these inver-
sions of many Corbusian tropes begin an internal
critique that marks this particular work as differ-
ent when compared to the prior buildings of Le
Gorbw:;ier's architectlll'e.
.....
'"
16. The brise-soleil anpeaJ'S ,tJOid8 cut fro ill (I solid. 1." Pala1:s des Congres, first-floor levels. The fenetre
en longueur oj'Le CO/'busier's "Fl:ue becomes
a lwlleycombed briRe-soleil. a ,,'gular oj'
openings thal1l'raps aronnd three I<ides of the Palais
des Conglas.
Palai!' de:; Congre:;
/ f
I .
d.
f
"-

COllgJ'eS
/"""
/ /1", ''''
//
/ "
/)/b
"',(:/

#
\::.
"\
'a/ais deN COt/gres can be read as a doable sOl/dwic'/i
containing two piloti !cwe/s stacked one on top of the
otllel: The gvol/lld wn no lOJ/ger be identified as S1lCh,
,,"or Ille luwer pi/ntis been !J1t.<:hed dO({'rl $0 that
f/ie second lel'eZ is at gromullcoel.
a.
r.
.
/
//
/
////
/
/
/
'-'V/
,
>/

.... .
/
"
/'"
\
/1"'"
/ / / / "
// "'\
/ / 1-/
;/
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-- ------ ------ -
/"""
// / /" ,
// // ',."
// /// "', "
//// " '"
//(// ""
..: ' "
" ' ,
" .... '
"" '!Ii. f ....
, .k
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'----
14 ((lj). Palais des COrLr!rcs, groltlld- (lI/(I,find-jloor'
I'p/s. The fo'stfloGI' level (a) is into the
,ground (b), doubled (c), voilied (d), and ro IIIfJrd 1/[i to
tlie new uraund level (e), which br'comes the bwse for
the pilotis (0, The 1'e/)el'8(11 of Le "Fllie
at Strasbourg begins with tile piloti,,:, 7'Ii

-)
".- pil
'"
O. The double-height in IIleloll rill Qlldfifthfloors
lSe,1.Ie ClS a rotatiol/al a.l'isfo/ the pi1PLlleel, ((miS
w'e tile hlocksflll'111ed by the main lwditol"iu1II spaces.
19. Palai:; r'v1/gres.j(mnll fiool: The fO/lrl1l floor is
organized illto blockl>, ("IWltillg two 1l,.,I/S of fl
pin 1/111 eel which mtctte a,'omlcl a eel/tel' void.
Palais des Congres
"'\',
"
".

Palais des
18. 011 the :;econd floor, this pinwheeling motion is
n>,peated on Qnothel', snwllel' scale: a clusler I!( moms
rotates witl/hl each quadrant, creating a
spillllin{J inlerllal to coth of tile.
':-
'" -
"", 1./
/
/'
,
17. des Co1I{JI'iJ.s, second jioo/: Till' plllll of tile
can be divided into/OIlr Quadrants, wltieh.
because of the ramp that goes up to the piano nobile
and the mmp that into tills lowrr lel'el, ol'e
organized ax
lH


'v
alai.8 des CongJ'es

j'
I
/
/
!l. Pnlais des Crmgr'f1S, flool: The a nulysi8 of U, These absences describe spa.ces thatpUlIctuJ1te this
the second}ioor colnmn ,grid begil/s to ','aeal tliat at ullerall!friel, Por I<xample, the void 'ill the
Strasbourg, the Corbusianfree plan 1'1$ ('ut'/alm gridserves(.. iu; rotational Mis.
piayo.f'strategicom indicatedbythehif/hi iyhled
redcol limns,
Palais des Congl'P-i'
.s'
/ .

// -'" '\
/' / '\. \
/'

//,
\

"
,
<9
/

23. l'otais des Congl'iJs, thirdfloor, On the thirdfloor
nly ol1e columil iB p,lin?'i nated, rpplaced by a 1itair
CMe. Themissingcohwl.IIfm'rm; It strl/ctureq(arrested
rotatioll. The disposition of 0'11 tile thirdfloor
dltmonst.rates the 711ay between.what appears to be
wholenowresGild'M./'tialjigl
24. 01/ the thinlj/.OOI; a ofcollimns
fram(3j; the building (m three !Iet Oil tlli! interior
ofthe building, the columns are 81:Zfri cliffe/'e;ltly. TIle
largercolumnsdivide the sql1are pluu illto athlw:-bay
withanABEarrangement il11le,'
AA
Paluis ric!> Cong1'e:; Palais des (' ongre:s !I

J5. Palais des COllyres,foltTlltjlo01: A second, subtler
I/olotiou of the rolwnns occurs 08 they arc Mpa1'ated
iI/to dommant rows. The perimeter co/millis are se
back.tiom the sides butjfush.lo whot would be tl1I' rea,.
of the buildl1lg. Entire bays of co[nTr/l/f; are I'emoved
(red).
2(i. 0/1 tile fourth .lloor. the ,'emoool of wlllmn bays
also slriates t!le plan i7lto (/ serie:; of linear elements
t1wl, as they break daul1I and are inieJT1.I pted, allow
the vOI'iolls grids to become figural elements.
a continuitll of OJ/ tlte Oil/boor,
II/u:face while lhe inner rows diuide into 1111 A buy, u B
ba,lJ, and another B bay.

27. Palais des Congres,.lijth.lloOl: The central branch 18 no longer clear. Again there an! a ]Jtl/"lial
of Ow mmp connect!; to thefift.h level. While thefigured figures on the jijlh ]ioor which lIape w/'res/lfmdcmres
fonn n.ftlle ramp is clearly ill. the thirdfioo with thejigumlform>; 011 the third and fourth flooi's.
alld roof [('vel, the shape of tire 1'(Unp 011 the fifth flom'
!J1
/
--
\
\
31, The geometry of the ,'ooF<I rlwml>oid shape seemlS
pinned 111/ a shlgle poi Ilt, echoing the ma 11111$1' 'ill wll ic!l a
collLmnfo/'ms the j'lI/C!'t/ mft))
olJement ill lhe secolld. third aJldfrml'th
/
/
(
/
"
/

"-,
P<llail' Cungres _ _ _ __
J
//
/ /
//
/
/'
\
,/
/
\
/

",
"-
'""
__________ de;; Congores
L9. The roof volume is warped into a 'rhombuid Ilhape
and distorts tile horizontal datt/11I,
"-
"
';:--
,/
/
!l(1
28. lies Congres, "oof level. The fon'cs
traced in eCLch leL'(jl echo the 11I0VeliWI1t ql'thc Tn mp. The
warped sll/face of the 'roof levtll'eflf3ct:; this spil'alin.a
mm'ement.

itl
The gl'01tl1d iR ne-I'M' Ie-vel: ii, ill C/il away liS a sll1:fac:e
01/(1 up inlo the bllildillg uritlilhe ramp (m-p),
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Palais des C'onwes
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__ _ .alais des Congres
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JJ (a-p). Palais des COl/gri's, and elemtiul/S.
Tile buiLding and facade .fin'ther I'el'eal til
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Palais des Congres Palais des Congrb
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JJ. Pala;s d.es Congres, fourth J 1 o J ~ ramp an
second .floor. The ramp links the dijrel-i1l.g llil!ll'heel
rg(l1/'izafiol/.'1 of each level.

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