The main building, on stilts, is dedicated to the permanent collections. On the river side, it runs over a good distance alongside a glass palisade. On this façade are attached orthogonal boxes of various sizes in warm colours.

On the opposite (south) side, dark mobile sunshades, punctuated with sorts of bright red cross-members, reign supreme. On the majority of the façades the architect deploys a style based on structures or decors that dematerialise the exterior spaces and filter out most or all of the light from the interior.

From the garden level, a ramp leads easily over 180 metres of white curves and counter-curves to the floors with the collections. This immense hall is bathed in an atmosphere of attenuated light: finely filtered daylight and lighting spread over the dark superstructure, in the absence of a ceiling. This space is exceptionally dense in terms of architecture and museography. Viewed from the three mezzanines that overlook it, this platform appears to be a fantastic carved landscape of captivating gorges and ravines. On entering this mysterious and fascinating territory, visitors are struck by what seems to be an initiatory approach to the works in a moving and intimate encounter.