This article analyses Vision memorable(1987), based on the images that doors and windows encompass. The presence of theseelements is reiterated and conclusive. Both are an important part in the narrative fabric in the first work of Miguel Gomes. The texture of Vision memorableis encouraged by the intervention of a poetic voice. This one registers with absolute clearness the gestures of the universe. It justifies its fullness when reconstructing to us a city full of images. It catches microscopic situations that explain with calculated rigor the chaos of the metropolis. Also, this article mainly is based on Gaston Bachelard's essay "La dialectica de lo de dentro y de lo de fuera" (2006), in which he states that "el espacio no es mas que un horrible afuera y adentro", when he makes to coincide "ese drama de la geometria intima", directly with that human being who inhabits a space and appears as aprudish individual, plenty of nostalgia and fears, that decides to take refuge.
