Description
Architecture?s effects operate largely at the center of visual interest. It is in the central cone of vision (the fovea) that
perspective is created and in which architectural assemblies are imagined. One consequence of the sectional object, a long
standing series of investigations which seeks to confound the hegemonic dominance of objects by making them an interior
condition, is that the occupant is shifted from a privileged position in the center of the interior space to its margins. This
decentralization may also find its parallels in the visual field. In the mature painting of Mark Rothko, for example, the
activated field of the painting is at the periphery. But unlike the strategy employed in the sectional object where the object in
the center has great visual interest, the center of these paintings create a blankness. This atmospheric voiding of the center
in deference to the edge is their primary, and unsettling effect. This can be imagined in contrast to an effect often