The interest in observing these places stems from the desire to construct an imaginary realm where one can dwell with the gaze. Rosario Assunto, in a brief text clarifying the concepts of territory, environment, and landscape (^{Assunto, 1980}), states that landscape is the form through which humans have organized the raw matter of the territory into an environment. We inhabit a place when its form gathers and integrates fragments of meaning that would otherwise be lost. These fragments remain alive over time because they are renewed, assuming a new symbolic significance

The photographic sequence explores a possible relationship between landscape and the sacred dimension. Among the examples, there is a brief reference to a garden by Fernando Távora-an exemplary case of spatial organization that takes shape through fragments and the experience of place. One observes the traces of a religious symbology that shaped the construction of places and landscapes in northern Portugal. Two examples of hermitages in the Alentejo and a sophisticated Renaissance architecture hidden within the Mitra garden are also highlighted. Finally, there is a reference to the architect Vítor Figueiredo, recognized for his ability to sense and translate the memory of a place into his projects.

Even while maintaining a natural survival instinct, we inhabit the landscape. It is precisely in the landscape, Assunto reminds us, that we can continue to keep watch-in the etymological sense of the word, meaning to preserve. Photographer Robert ^{Adams, in the essay Truth and Landscape (Adams, 1995}), writes that photographs are instruments of understanding, capable of revealing the transformation of one thing into another. They achieve this in a way akin to an epiphany, illuminating what is no longer before our eyes and what easily hides in memory. Just as within the walls of a garden, the boundaries of a frame can preserve the relationship between humans, nature, and the landscape.