The Eiffel Tower system renders the wrought-iron imagination of the 1889 Exposition Universelle as an interface: 18,000 puddled-iron members, two and a half million rivets, and the crosshatched steel-engraving plates that sold the tower to a skeptical Paris. It lives in a narrow band of iron grays — pale zinc paper, graphite ink, oxidized-rivet bronze as the only warmth — organized by the diagonal lattice already present in Koechlin's first sketch.

Numbers carry weight here: spans, tonnages, rivet counts, all set in a draftsman's monospace like dimensions on a shop drawing. The result reads like a page torn from an engineer's presentation portfolio — a structure so honest it wears its bolts on the outside, engraved line by line onto a plate — not a nostalgia postcard.