The aim of the research is to operate a praise of places, intended both as physical and mental: it is theattempt to give a good measure to the network of images that our own conscience builds through themechanism of the voyage. This kind of cataloguing, memory, overlapping visions in the imaginary isdone within a positive aspect: the observation creates inner worlds, has cross references, introducesconnections; within the overlapping phase, space and time categories are cancelled, as neither pastnor future existed but the present with its over thousand places and times; places and times of theproject. As Francesco Dal Co writes, commenting Pompeii and Europe. 1748-1943 exhibition, held in2015, Pompeii is not only one, but thousands: all the "buried cities" that arise from the personal andcollective imaginary are the proofs of the mechanism that takes place among perception, memory,imagination.One of the "imagined Pompeii" is that of Gunnar Asplund and Sigurd Lewerentz: the "archaeologicalcity" that they create in Stockholm within the project for the Woodland Cemetery is a wellconsolidatedcomparison from the historic point of view, that this research investigates in its aspectsof decomposition and re-composition of an atmosphere but also of proper project setting layouts. Thevoyage, in this case, shows itself as a tool for the project: from the interaction between the archaeologicalvision of Pompeii and the personal designer’s imagination, specific compositional processesstart, that are able to build other spaces, in other places.The interest of the research is oriented to examine in depth those "transpositions", even among differentarchitectural scales, connected to the voyage practise: the interest is not only on the single architecturewhich has been sketched down and later on re-evoked in the motherland, but in the proper atmospheretransposition within an architecture or an architecture complex.