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As generally film sets are built solely for the single viewpoint of the camera, they can abstract reality to its visual conditions (to a semi-reality). This reduction concludes in a semi-flat, two-sided structure with one side toward the camera, and the other with it’s back to it. One for the likeness (the illusion) and the other one for the function of support. The two sides are quite opposite to each other. From the building seen through the camera lens, it is impossible to determine its other side. The work »Structure« investigates the dilemmas associated with the semiotic nature of photographs through the analogy of architectural situation of film sets. In that case, the architectural context correlates with the structure and operational mechanism of the photographic image in a web of visual and theoretical associations.