With these works, which refer to architectural elements (doors, windows, dwelling spaces), Gramcko began to provide narrative and poetic titles to her paintings based on their specific subjects as well as in references to Western literature such as Hamlet’s castle. The use of the peeled grid structure of the car battery box provides a compositional principle that brings a tactile quality to the work as well as an integrated structure to the traditional constructive grid used in geometric painting. Gramcko left traditional pictorial media to embrace discarded industrial objects. The grid becomes an essential part of an order in ruins, rather than a rational element.

"Elsinor’s Castle" (1963), considered one of Gramcko’s masterpieces and the largest work in the series, is an outstanding assemblage on Masonite, structured through the gridlike compartments of car batteries. The work belonged to Gramcko. And was included in the traveling group show 22 artistas Latinoamericanos as well as the Salón Oficial Annual de Arte Venezolano. Critic Marta Traba pointed out the outstanding, close, private, and secret world created in these works by Gramcko.