Light has taken over the locus, the room. Space has castled itself. Here there is no centre, yet the drawing on the floor seems to respond to some other order. It is possible to hazard the theory that Kounellis, as Borromini has so obsessively done, has opted for the geometric form of the ellipse. Two centres, yet none.
Attention goes from one to the other.
The eye moves, but now it is off-centre. Both of them citizens of Rome, weighed down with the tools of their trade, placed themselves before space, aware they cannot transgress it, and at the same time, amazed. To the Italian architect the building is a machine for the global effect of chiaroscuros signalling over and over again the strangeness of illuminated space. A subtle paradox that of the Greek craftsman since it seeks from the position of object that which belongs only to the act of looking. The immobile presented to the eye as centrifuge.