For one motive or another, The man without attributes is a common place for all the theory that today we face together with human relations established with regard to the contemporary city, pushing its limits - repeatedly - the reiterated reconstructions of the concept of living. For the scope and complexity that it contains - with regard to the urban being and the city - both in his own text and in the wide generated bibliography, the title of the unfinished work of Robert Musil is adopted here as denominator of those records that associate the urban and the human in the memory of the photographer. And, even more, the antiheroic existence and without targets of Ulrich seems like the most adequate lookout to place this gaze without attributes over the city and its inhabitants.

The high degree of complexities in that which is found installed in the contemporary city is explosive of very diverse phenomena, that evolve in a permanent way and at high speed. This context conducts to the urban population to establish its own and differentiated forms to inhabit, breaking into pieces the classical dichotomy that differentiated the urban from the rural. These strategies obey as much to real perceptions as to imagined and equip conceptions of user and of imaginary. Inhabiting, in the most extensive sense of its demonstrations, the urban being builds an imaginarium with the capacity to generate its own, unique and different city, being this the referee and antecedent of all its subsequent uses, in a cycle that is fed back in mutual complexities. In this context, to photograph the cities is something more than registering the memory of this process. It is a matter of documenting the Imaginary-City.

The values of cultural references are fundamentally constructed by the memory of the gaze, this being the original and essential assignment of museums. It is true that the evolution experienced through the mediums of cultural diffusion, from photography, has obscured this target which leads to the current confusion, but nevertheless there is no doubt that it is in them that one gains access to the (re) uniting ritual - sometimes instantaneous - of our memory with the icon. 
These archives document specifically the museaum spaces visited. Images that evoke - along with other events - this look of confrontation longed by the acquired memory. It constructs itineraries and raises minutes of a protagonistic aspect of memory.

For the architect, to internalize certain foreign architectures is not only associated with the rational processes of knowledge. But also with something more complex, which is related to those feelings capable of generating emotions without real contact with objects. These files register and evoke the contact - finally produced - with those architectures that guided in some moment the personal experience of the architect - photographer, transformed forever into traces on the inside. 
Perhaps it is a question of a collection dispersed, discontinuous and differentiated with respect to others more orthodox. In any case it is a part of the lived experience and a mix of ideas and embryonic and contradictory intuitions is assumed, with the explicit accompaniment of more than a few passions.