I much prefer the original. I love the "7" that frames the right side and balances the open windows. All that visual interest is lost to me by the tighter crop without compensation.
Slobodan wrote "I would crop to five windows, cropping out the top." which I think at first I misread (and liked the idea) to mean to take as a crop only the very top's 2 rows of windows, which number 5 of the large/rectangular ones. And such crop gives a landscape view of some interest with the sort of complementing imbalance referred to of "the '7'". (Whereas, in re-thinking, he must mean to show only the 5 lower rows of windows, losing the top.)
Another crop would be to remove the top row + the right side of the presented crop and leave the dark windows (the round small and then moving rightwards into the darkened rectangles) to make a reflected such (mirror-image) '7' in complement to the rest (cleaver shape) --for which the interest of the right side would detract, hence removing it. This cropping also de-centers the concrete's white block, giving tension between it and the left side.
As for the impression of wideness at the top, doesn't that come from our sense of looking UPwards (at ceilings and not floors, e.g.) and wanting the apparent convergence of lines that such a view naturally has? Anyway, I feel the same thing.
--dl*
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