The tension toward motion ? also apparent in the project sketches, in which the pencil reveals a spiral progression toward the centre of the volume ? is not exhausted in dialogue with the urban context, but travels, like a centripetal force, into the museum interior: here the spiral-shaped floor plan, like a clover leaf or the three points of the Mercedes trademark, revolves around a triangular empty space to generate six levels, alternatively one and two storeys high, containing exhibition areas with ramps sloping gently up to the next level.
The goal is to create a broad fanning out of routes, shortcuts, closed and open spaces like a city. And in fact the museum space may be seen as a small city, in which the automobile has played the leading role in modern and contemporary urban planning since the early twentieth century, and continues to do so today, and in which pedestrians move about as another moving cell in the urban tissue.