Cities’ representation has become increasingly limited, disregarding thousands of years of complex cartographies—between the sentimental and the documental. This chapter attempts to explore a particular photography book: a catalogue which addresses the representation of place in a rather unconventional way. The Innocence of Objects is part of a triangle, together with Orhan Pamuk’s novel and the Museum of Innocence in Istanbul. The novel-catalogue is not a sub-product of the museum; on the contrary, it is at its origin. While the Museum of Innocence is the architecture of a sequence of scenes that build up space from the reconstruction of careful compositional structures that generate new relationships, The Innocence of Objects displays them as still-lifes, where story and history merge. Through photography, the displayed compositions—or artificial landscapes—build up a panoramic cityscape, an urban identity beyond its physical form and specific time, that encourages a deeper understanding of the multiple and stratified meanings of the city.