Monster, atrocity, excellence, trash, elegance, controversy, even a supermarket… A plethora of names defined Centre Pompidou since its inauguration in 1977. Some call it an architectural gem and others find it hard to digest. We choose not to pick sides in this debate and decide to emphasize one unequivocal aspect of Piano and Rogers’ design: the power it has on the Parisienne landscape. Even standing as a box on Rue Beaubourg, the building asserts dominance over Haussmann’s Paris. Our drawing deconstructs the object that is Centre Pompidou and therefore its urban hierarchy. The dialectical relationship between the city and the building dissolves and the monster becomes part of Paris.