I think there’s a Rothko in every Brueghel, and a Brueghel in each Rothko, as if we look more deeply into each of their work there seem to be the other. If one looks closely into a Brueghel red painting there are actually at least say, twenty shades of red, likewise if we zoom out of a breughel and the painting is reduced to a simple box, and is read from afar, it is possible to interpret possibly only one shade of one colour, say, brown, or cream in one minds eye, it has become another image, one colour, just like a Rothko. In each detail there ought to be a broader direction and philosophy that guides and informs it, and to any body of work there must be resolution to allow study and investigation in greater detail. In connection to this also is the very powerful presentation of the film called powers of ten, designed by Eames which played on the concept of scale, how zooming into or out of a picture a few thousand times eventually reveal shocking visual resemblances of the original object seen few thousand times larger or smaller than before. The discourse we are proposing here is there is a need to check both end of the scale for all of what we propose, whether in township reconstruction or adaptive reuse and also the scale of interior decoration and embellishing walls with plywood veneer or pandomo paint. As soon as we are able to see one detail which infers the larger whole, the ideology is more or less complete. However this technique or way of seeing (refer John Berger) requires some examination either by eye or debate, or through experience and experimentation or juxtaposition of one element into another or if we view a series of assembly of parts or components, in a city design or masterplan this will entail designation of the individual parcels or plots of land and its characteristic interior plan over the road network or infrastructure geometry which is the larger whole. The theory put forth in this instance is that without both ends informing and conforming to the other, the dots are not yet joined and the link is then broken. In checking for this connection, one can reflect upon the idea that breughel when he pants the details inside of his work takes the same notion for concept as when Rothko puts colour into his patterns, to convey a simple message on his terms, whereas breughel places the same detail into all his landscapes using his own terms. Both work embrace the same level of articulate consideration but they operate at opposing ends of visuality, so that if we take the reading of each one and compare them, they offer different insight to seeing. A building whose detail matches the intensity and clarity of a Rothko for the wall finishes or the decoration of anyone of its elements and then together with the other buildings forms the picture that breughel imagines for a township or a masterplan would then give us the elusive great meaning to architecture.