As a result of pure chance I became aware of these herculean and brutalist-esque concrete structures situated along the coastal roadways of central Greece. As I drove past one structure after the other, I couldn’t help but to take part in, what I can only describe as, an emotional act of gazing. Through the incompleteness of these architectural spaces, a symbolic scenography is formed. A concept which can be found for example in Leon Battista Alberti’s symbolic considerations, taken from his De pictura of 1435, with which he theorizes the method of perspective in the figurative arts, comparing a picture to an open window, or aperta finestra. Unfolding this Albertian “window” beyond merely a visual tool as it was known to be in the Renaissance, I shift to focus on the spatio-phenomenological significance of the perspective window where threshold and frame merge harmoniously to evoke visual narratives lost between the worldly and otherworldly / reality and illusory space / memory and time.