What isn’t experienced while being present in a physical space often gets revealed in their frozen image-representations. Still images fragment spaces and discontinue the time that is so naturally built into an expereince with movement.
Frozen-depths and spaces that extend beyond how they are perceived in a real physical sense, other than how they can be seen and analysed in a much more immersive state of motionless stills.
The most one can engage with the emptiness/fullness of a space is not when they are present in the space itself, where numerous factors like time, temperature, space and external factors control movement and the entire experience is apprehended as a whole, but when their mental make-up is projected to the detailed fragmented outcome of a certain specific time-capturing instrument, where an enormous significance is given to each and every detail that makes a representation of that peculiar time-space composition.
This latter way of looking at physical spaces, in another words - a crossway perspective, connects more with an individual and creates a strong relationship that interconnects and establishes diverse memories with past experiences along with the current frenzy and unbalanced perception of spaces or urban spaces at an exclusive level.
This, already known but unique, perspective of spaces shakes a dynamic approach towards any used and unused architectural space, besides expanding the ever-unexplored medium of freezing time in a frame.