Herman Hertzberger begins his presentation of his Utrecht Concert Hall project by describing the entrance as a large music shop among many other types of shops. Making the visitors feel more welcome, his concept borrows from many side-step terraces in old gallery passageways in Paris. Hertzberger prefers the term “organization” to “design” because it has more to do with associations rather than simply choosing a shape. In explaining the concept behind the organization of his project, he refers to the organizational faults of Toronto’s Eaton Centre. The concert hall is an amorphous group of buildings that achieves clarity through its regular grid of columns, much like Le Corbusier’s Dom-ino Houses.