View allAll Photos Tagged ArchitecturalDesign
Hoover Dam is a concrete arch-gravity dam in the Black Canyon of the Colorado River, on the border between the U.S. states of Nevada and Arizona. It was constructed between 1931 and 1936 during the Great Depression and was dedicated on September 30, 1935, by President Franklin D. Roosevelt. Its construction was the result of a massive effort involving thousands of workers, and cost over one hundred lives. Originally known as Boulder Dam from 1933, it was officially renamed Hoover Dam, for President Herbert Hoover, by a joint resolution of Congress in 1947. Since about 1900, the Black Canyon and nearby Boulder Canyon had been investigated for their potential to support a dam that would control floods, provide irrigation water and produce hydroelectric power. In 1928, Congress authorized the project. The winning bid to build the dam was submitted by a consortium called Six Companies, Inc., which began construction on the dam in early 1931. Such a large concrete structure had never been built before, and some of the techniques were unproven. The torrid summer weather and lack of facilities near the site also presented difficulties. Nevertheless, Six Companies turned the dam over to the federal government on March 1, 1936, more than two years ahead of schedule. Hoover Dam impounds Lake Mead, the largest reservoir in the United States by volume (when it is full). The dam is located near Boulder City, Nevada, a municipality originally constructed for workers on the construction project, about 30 mi (48 km) southeast of Las Vegas, Nevada. The dam's generators provide power for public and private utilities in Nevada, Arizona, and California. Hoover Dam is a major tourist attraction; nearly a million people tour the dam each year. The heavily traveled U.S. Route 93 (US 93) ran along the dam's crest until October 2010, when the Hoover Dam Bypass opened. As the United States developed the Southwest, the Colorado River was seen as a potential source of irrigation water. An initial attempt at diverting the river for irrigation purposes occurred in the late 1890s, when land speculator William Beatty built the Alamo Canal just north of the Mexican border; the canal dipped into Mexico before running to a desolate area Beatty named the Imperial Valley. Though water from the Imperial Canal allowed for the widespread settlement of the valley, the canal proved expensive to maintain. After a catastrophic breach that caused the Colorado River to fill the Salton Sea, the Southern Pacific Railroad spent $3 million in 1906–07 to stabilize the waterway, an amount it hoped in vain would be reimbursed by the Federal Government. Even after the waterway was stabilized, it proved unsatisfactory because of constant disputes with landowners on the Mexican side of the border. As the technology of electric power transmission improved, the Lower Colorado was considered for its hydroelectric-power potential. In 1902, the Edison Electric Company of Los Angeles surveyed the river in the hope of building a 40-foot (12 m) rock dam which could generate 10,000 horsepower (7,500 kW). However, at the time, the limit of transmission of electric power was 80 miles (130 km), and there were few customers (mostly mines) within that limit. Edison allowed land options it held on the river to lapse—including an option for what became the site of Hoover Dam. In the following years, the Bureau of Reclamation (BOR), known as the Reclamation Service at the time, also considered the Lower Colorado as the site for a dam. Service chief Arthur Powell Davis proposed using dynamite to collapse the walls of Boulder Canyon, 20 miles (32 km) north of the eventual dam site, into the river. The river would carry off the smaller pieces of debris, and a dam would be built incorporating the remaining rubble. In 1922, after considering it for several years, the Reclamation Service finally rejected the proposal, citing doubts about the unproven technique and questions as to whether it would in fact save money.
The Cagsawa Ruins (also spelled as Kagsawa or Cagsaua) are the remnants of an 16th-century Franciscan church, the Cagsawa church. It was built in 1587 but was burned down by the marauding Dutch in 1636. However, it was reconstructed again in 1724 by Fr. Francisco Blanco. In February 1, 1814, Mayon Volcano caused its most violent and deadly eruption that engulfed the surrounding houses and killed nearly 2,000 people who took refuge inside the church. Only the belfry of the Cagsawa church remains as a grim and silent testimony of that fateful day. For almost two hundred years, it has withstood the test of time and the elements to become one of the most recognizable landmarks of Albay Province. The ruins are located in Barangay Busay, Cagsawa, in the municipality of Daraga, Albay, Philippines.
Brion Family Cemetery
Brion tomb
Cimitero Brion
Brion sanctuary
Brion-Vega tomb
Tomba Monumentale Brion
1969–1978
in San Vito d'Altivole near Treviso, Veneto, Italy
Brion Memorial - F.A.I. - Fondo Ambiente Italiano
fondoambiente.it/memoriale-brion-eng/
Brion Family Cemetery
www.archinform.net/projekte/639.htm
Brion tomb
en.wikipedia.org/wiki/Brion_tomb
Brion-Vega Cemetery
www.greatbuildings.com/buildings/Brion-Vega_Cemetery.html
Carlo Scarpa
Takemitsu: Quotation of Dream (1991) - Say sea, take me! - for two pianos and orchestra
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Brion Family Cemetery
Brion tomb
Cimitero Brion
Brion sanctuary
Brion-Vega tomb
Tomba Monumentale Brion
1969–1978
in San Vito d'Altivole near Treviso, Veneto, Italy
Brion Memorial - F.A.I. - Fondo Ambiente Italiano
fondoambiente.it/memoriale-brion-eng/
Brion Family Cemetery
www.archinform.net/projekte/639.htm
Brion tomb
en.wikipedia.org/wiki/Brion_tomb
Brion-Vega Cemetery
www.greatbuildings.com/buildings/Brion-Vega_Cemetery.html
Carlo Scarpa
The MPUA building in Columbia, Missouri. Design by Simon Oswald Architecture of Columbia, Missouri. Building construction by River City Construction of Ashland, Missouri. Photography by Notley Hawkins. Taken with a Canon EOS R5 camera with a Canon RF24-105mm F4 L IS USM lens at ƒ/8.0 with a 1/500-second exposure at ISO 50. Processed with Adobe Lightroom CC.
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©Notley Hawkins. All rights reserved.
© Andy Brandl (2015) // PhotonMix Photography
Don´t redistribute - don´t use on webpages, blogs or any other media without my explicit written permission.
A towering skyscraper looms against a dramatic, cloudy Bangkok sky. The building features sleek, modern architecture with a combination of curved and angular lines.
O portal principal da Sé de Lamego é uma notável obra do estilo manuelino, executada entre 1508 e 1515 sob a direção do arquiteto João Lopes.
Organizado num triplo pórtico, constitui a principal obra manuelina nesta região de Portugal. A fachada combina elementos do gótico flamejante com algumas formas iniciais do Renascimento.
No piso térreo abrem-se três portais ogivais, sendo o central de maiores dimensões. Esta imponente entrada reflete as modificações feitas no início do século XVI, alterando significativamente o perfil românico original da catedral.
Massimo Micheluzzi exhibition
Massimo Micheluzzi al Negozio Olivetti
Negozio Olivetti
Olivetti Exhibition centre in Venice, Italy
Olivetti Shop, St Mark's Square, Venice
Showroom of Olivetti
www.archinform.net/projekte/640.htm
1957–1958
Negozio Olivetti, piazza S. Marco, Venezia, Italia,
Piazza San Marco 101 (Procuratie Vecchie)
Negozio Olivetti - F.A.I. - Fondo Ambiente Italiano
fondoambiente.it/negozio-olivetti-eng
Procuratie Vecchie, piazza S. Marco
Old Procuracies, St Mark's Square
Built:c. 1514–1538
Architect:Pietro Bon and Zuan Celestro (attributed)
Architectural style: Early Renaissance
en.wikipedia.org/wiki/Procuratie
Carlo Scarpa
youtu.be/r4QBXYgDpsk?si=-XCngoPu63iykjpL
Víkingur Ólafsson - J.S. Bach: Goldberg Variations, BWV 988: Var. 18 (Official Music Video)
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Brion Family Cemetery
Brion tomb
Cimitero Brion
Brion sanctuary
Brion-Vega tomb
Tomba Monumentale Brion
1969–1978
in San Vito d'Altivole near Treviso, Veneto, Italy
Brion Memorial - F.A.I. - Fondo Ambiente Italiano
fondoambiente.it/memoriale-brion-eng/
Brion Family Cemetery
www.archinform.net/projekte/639.htm
Brion tomb
en.wikipedia.org/wiki/Brion_tomb
Brion-Vega Cemetery
www.greatbuildings.com/buildings/Brion-Vega_Cemetery.html
Carlo Scarpa
Takemitsu: How Slow the Wind (1991) for chamber orchestra
.
Brion Family Cemetery
Brion tomb
Cimitero Brion
Brion sanctuary
Brion-Vega tomb
Tomba Monumentale Brion
1969–1978
in San Vito d'Altivole near Treviso, Veneto, Italy
Brion Memorial - F.A.I. - Fondo Ambiente Italiano
fondoambiente.it/memoriale-brion-eng/
Brion Family Cemetery
www.archinform.net/projekte/639.htm
Brion tomb
en.wikipedia.org/wiki/Brion_tomb
Brion-Vega Cemetery
www.greatbuildings.com/buildings/Brion-Vega_Cemetery.html
Carlo Scarpa
Takemitsu: How Slow the Wind (1991) for chamber orchestra
.
Brion Family Cemetery
Brion tomb
Cimitero Brion
Brion sanctuary
Brion-Vega tomb
Tomba Monumentale Brion
1969–1978
in San Vito d'Altivole near Treviso, Veneto, Italy
Brion Memorial - F.A.I. - Fondo Ambiente Italiano
fondoambiente.it/memoriale-brion-eng/
Brion Family Cemetery
www.archinform.net/projekte/639.htm
Brion tomb
en.wikipedia.org/wiki/Brion_tomb
Brion-Vega Cemetery
www.greatbuildings.com/buildings/Brion-Vega_Cemetery.html
Carlo Scarpa
Located at industrial town Oberschöneweide, the former AEG terrain was redeveloped into the HTW Berlin, Hochschule für Technik und Wirtschaft Berlin, University of Applied Science.
The stunning achitectural ceiling design of the Venetian Hotel and Resort, Macau
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Negozio Olivetti
Olivetti Exhibition centre in Venice, Italy
Olivetti Shop, St Mark's Square, Venice
Showroom of Olivetti
www.archinform.net/projekte/640.htm
1957–1958
Negozio Olivetti, piazza S. Marco, Venezia, Italia,
Piazza San Marco 101 (Procuratie Vecchie)
Negozio Olivetti - F.A.I. - Fondo Ambiente Italiano
fondoambiente.it/negozio-olivetti-eng
Carlo Scarpa
A mesmerizing downward view of a modern staircase at The Phillips Collection in Washington, D.C., this photograph captures the dynamic interplay of wood, metal, and architectural rhythm. Taken from the top landing, the image looks directly down into the stairwell’s geometric vortex, showcasing the elegant curvature of the banisters and the linear contrast of the supporting balustrades.
At first glance, the composition reads almost like abstract art. The sweeping curves of warm-toned wood railings wrap around the stairwell like ribbons, leading the viewer’s eye in a perfect spiral toward the ground level. The stairs themselves are built from richly grained wood planks, which add warmth and organic texture to an otherwise industrial framework of metal rails and sharp angles. Natural light from above bathes the entire scene in a soft, golden glow, enhancing the warmth of the materials and casting delicate shadows.
Every line in this photo has intention. The cool, metallic gray of the vertical balusters counters the warmth of the wood and introduces a sense of structure and balance. These metal elements echo modernist design principles—streamlined, functional, but aesthetically precise. The diagonal convergence of lines adds a sense of momentum, inviting viewers to visually tumble down the stairwell and experience the architecture in motion.
This space is not merely transitional—it’s sculptural. Rather than treating the staircase as utilitarian, the design elevates it to centerpiece status. It becomes a visual anchor in the museum's architectural language, guiding visitors both physically and emotionally through the building. There's a sense of journey in the photo—whether it's ascending to the exhibitions above or descending into another realm of artistic discovery.
The craftsmanship here is unmistakable. The handrails are not just practical; they are tactile expressions of design intent. Their polished wood finish gleams softly under ambient light, a testament to the attention paid to every material used in the building’s design. The sharp contrast between the banisters and the stairs creates a layered effect—each step becoming a frame within the larger narrative of descent.
Also notable is the harmonious blending of architectural styles. While the Phillips Collection is home to both historic and contemporary elements, this stairwell seamlessly bridges the two. It stands at the intersection of tradition and innovation, echoing the museum’s philosophy of showcasing classic and modern art in conversation with one another.
Subtle visual details reward those who linger: the repeating angles, the glimpse of the landing below, the offset railing sections. This is a space built for movement—but it’s also built for observation. The photograph captures not just form, but intention; not just structure, but experience.
In this image, architecture becomes art, and the simple act of looking down a stairwell becomes a visual meditation on craft, flow, and human-centered design.
Negozio Olivetti
Olivetti Exhibition centre in Venice, Italy
Olivetti Shop, St Mark's Square, Venice
Showroom of Olivetti
www.archinform.net/projekte/640.htm
1957–1958
Negozio Olivetti, piazza S. Marco, Venezia, Italia,
Piazza San Marco 101 (Procuratie Vecchie)
Negozio Olivetti - F.A.I. - Fondo Ambiente Italiano
fondoambiente.it/negozio-olivetti-eng
Carlo Scarpa
Massimo Micheluzzi exhibition
Massimo Micheluzzi al Negozio Olivetti
Negozio Olivetti
Olivetti Exhibition centre in Venice, Italy
Olivetti Shop, St Mark's Square, Venice
Showroom of Olivetti
www.archinform.net/projekte/640.htm
1957–1958
Negozio Olivetti, piazza S. Marco, Venezia, Italia,
Piazza San Marco 101 (Procuratie Vecchie)
Negozio Olivetti - F.A.I. - Fondo Ambiente Italiano
fondoambiente.it/negozio-olivetti-eng
Carlo Scarpa
Fondazione Querini Stampalia
Querini Stampalia Foundation
garden
1961–1963
intervention in Palazzo Querini Stampalia,
sestiere Castello, Venice, Veneto, Italy
Fondazione Querini Stampalia
fondoambiente.it/luoghi/fondazione-querini-stampalia
Carlo Scarpa
©Jeremy Photography 2016
A perspective at the Rochor Centre Color Building. It's going to be heading into the history book very very soon.
Though I do not have much memories on this wonderful and vibrant places but it sure give some very good perspective for some abstract shots
Cheers
☀️✨ "Sunwheel", o projeto inovador do coletivo Moradavaga, foi criado para as Festas de São João 2016, a convite da PortoLazer. Inspirado nas cascatas sanjoaninas e no solstício de verão, esta obra efémera ocupou a Avenida dos Aliados. Com um enorme círculo de placas douradas, a sua rotação gerava fascinantes reflexos, encantando todos ao longo do dia e da noite. A instalação foi uma das finalistas do BIGMAT'17 International Architecture Award na categoria de "Arquitetura Efémera"! 🏆
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Gil Duran on Trump, Tech, and “The Nerd Reich”
youtu.be/z2W3tmCBEnE?si=cmqSRIpX0GnOvEgs
Join journalist Gil Duran as he explores the rise of a new ideology—what he dubs “tech fascism” or the “Nerd Reich”—that’s influenced significant figures in tech and politics, including Elon Musk, Peter Thiel, and more, through a non-partisan forum hosted by the Commonwealth Club.
How Silicon Valley elites adopted extremist political ideas from controversial thinkers like Curtis Yarvin, advocating for CEO-led governance
Timely insight into the moral & ideological impact of Silicon Valley’s “tech fascists”
Learn about Curtis Yarvin’s influence, the concept of “Network States,” and the fusion of private empire with public power
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youtu.be/BdzM7hUPG_A?si=Vny5ovzB39Kn6FXo
More Everything Forever: AI, Crypto, and Silicon Valley's Hype Hijinks
Calling all AI prompstitutes/askholes, crypto whales, and everyone who grew up nerding out on Science Fiction...this episode is for you! Special guest Adam Becker, an astrophysicist, author, tech journalist, and scientific philosopher, joins Rick to dissect Silicon Valley's beating heart: techno-futurism and the Silicon Valley bros. Inspired by all of the weird stories he's heard at parties in the Bay, Adam decided he wasn't wearing enough hats already and wrote two books on the subject matter: What is Real?, about the unfinished quest for the meaning of quantum physics, and MORE EVERYTHING FOREVER: AI Overlords, Space Empires, and Silicon Valley’s Crusade to Control the Fate of Humanity. You all know Elon Musk, Sam Altman, and Sam Bankman-Fried (not to mention the BIG power players like Google), but have you heard of JD Vance's friend and soft-cult leader Curtis Yarvin, or Netscape creator Marc Andreessen, or co-founder of PayPal and Palantir Technologies (the surveillance state technology used in China) Peter Thiel? The PayPal Mafia spawned a LOT of bizarre shit, including the launch of Elon Musk and Peter Thiel's careers AND a lifelong rivalry. That’s only the beginning. Cover your keyboards, folks, Rick and Adam are brewing some piping hot Silicon Valley tea, so pull up a chair and the guys will spill it with you.
youtu.be/unSSHfIs3U0?si=ftHVUSnOoxYOMerr
French Senator criticizes Trump
youtu.be/zQyvq1kI6Fk?si=_VMOlUn657Btqk-k
The Ongoing Vandalism of Our Government | Shield of the Republic
youtu.be/qjnbnAqDLrE?si=bL1d6Dda01mCXGGd
Our Country Is SABOTAGING Itself! America in Self-Destruct Mode (w/ David Frum) | Mona Charen Show
youtu.be/vEkEPCfFgFI?si=Iyht-YylV3dnpHgW
Applebaum: Signalgate and the Authoritarian Playbook
youtu.be/f_RBi_uSHGw?si=FwWBQ-f6_0TXKExx
The Day America Lost Everything
youtu.be/o_W02geuleI?si=C4w1gDica71ytaTx
America's Techno-Fuedal Overlords with Andra Watkins | Lincoln Square
youtu.be/Y_3_PnnZ14I?si=63hfUqOc0jvpMbd-
Yanis Varoufakis on technofeudalism and the fall of democracy
youtu.be/X3FdIyNMaFY?si=Bx0xMMID4YwzzsqW
Yanis Varoufakis welcomes us to the age of Technofeudalism | FULL INTERVIEW
HOPE FOR THE FUTURE
youtu.be/uxoijQfFg8I?si=n3PGTIcBZTKR-WYy
Trump's Term Is DOOMED! (w/ Jonathan Rauch)
0:00 Trumpian Patrimonialism
16:26 Incompetence & Corruption
34:18 Religion to save democracy?
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photo:
Carlo Scarpa - Querini Stampalia Foundation
Fondazione Querini Stampalia
1961–1963
intervention in Palazzo Querini Stampalia,
sestiere Castello, Venice, Veneto, Italy
Fondazione Querini Stampalia
fondoambiente.it/luoghi/fondazione-querini-stampalia
Carlo Scarpa
en.wikipedia.org/wiki/Carlo_Scarpa
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music:
youtu.be/k6LlpU7csRk?si=lk9DqCZIrgnSYjuY
Your Mind Is on Vacation · Mose Allison
youtu.be/mwmZJFUVjb4?si=OY_2C2N2ZnLEJCTz
Severance Season 2 Finale End Credits Sequence
youtu.be/3CXyrdk_e40?si=rupVEEzHbycsuZvw
Bach's Prelude in C Minor, BWV 847 (Well-Tempered Clavier, Book 1) [MIDI Tutorial]
youtu.be/djZYKsC1OD8?si=wq6Su3SFb5pK1DX_
KRAFTWERK -- Computer World (vinyl)
youtu.be/HSv0f3ZBOqM?si=VgwKju5ofXcvYV4F
When the Sh-- Goes Down
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“Do not obey in advance. Most of the power of authoritarianism is freely given. In times like these, individuals think ahead about what a more repressive government will want, and then offer themselves without being asked. A citizen who adapts in this way is teaching power what it can do.”
― Timothy Snyder, On Tyranny: Twenty Lessons from the Twentieth Century
"Rhinocerization"
en.wikipedia.org/wiki/Rhinoceros_(play)
Rhinoceros (French: Rhinocéros) is a play by playwright Eugène Ionesco, written in 1959. The play was included in Martin Esslin's essay on post-war avant-garde drama "The Theatre of the Absurd", although scholars have also rejected this label as too interpretatively narrow.[citation needed] Over the course of three acts, the inhabitants of a small, provincial French town turn into rhinoceroses; ultimately the only human who does not succumb to this mass metamorphosis is the central character, Bérenger, a flustered everyman figure who is initially criticized in the play for his drinking, tardiness, and slovenly lifestyle and then, later, for his increasing paranoia and obsession with the rhinoceroses. The play is often read as a response and criticism to the sudden upsurge of Fascism and Nazism during the events preceding World War II, and explores the themes of conformity, culture, fascism, responsibility, logic, mass movements, mob mentality, philosophy and morality.
Stand with Ukraine!
Novena Shopping Mall, I didn't realised the roof is actually a futuristic architecture design, pretty cool.
Taken from Montmartre, the highest point in Paris, one foggy afternoon.
Ever wondered why there are no tall buildings within the Eiffel Tower area? This is because the city has imposed a limit on building elevations within that area.
Eiffel Tower from Montmartre
Paris, France
Massimo Micheluzzi exhibition
Massimo Micheluzzi al Negozio Olivetti
Negozio Olivetti
Olivetti Exhibition centre in Venice, Italy
Olivetti Shop, St Mark's Square, Venice
Showroom of Olivetti
www.archinform.net/projekte/640.htm
1957–1958
Negozio Olivetti, piazza S. Marco, Venezia, Italia,
Piazza San Marco 101 (Procuratie Vecchie)
Negozio Olivetti - F.A.I. - Fondo Ambiente Italiano
fondoambiente.it/negozio-olivetti-eng
Carlo Scarpa
Takemitsu: How Slow the Wind (1991) for chamber orchestra
.
Brion Family Cemetery
Brion tomb
Cimitero Brion
Brion sanctuary
Brion-Vega tomb
Tomba Monumentale Brion
1969–1978
in San Vito d'Altivole near Treviso, Veneto, Italy
Brion Memorial - F.A.I. - Fondo Ambiente Italiano
fondoambiente.it/memoriale-brion-eng/
Brion Family Cemetery
www.archinform.net/projekte/639.htm
Brion tomb
en.wikipedia.org/wiki/Brion_tomb
Brion-Vega Cemetery
www.greatbuildings.com/buildings/Brion-Vega_Cemetery.html
Carlo Scarpa
2011
More artwork at: www.permiandesigns.com/
Instagram: www.instagram.com/permiandesigns/
Bluesky: bsky.app/profile/permiandesigns.bsky.social
NOTE: All works featured here are completely original creations. None are made with the assistance of any form of AI technology in any fashion whatsoever.
2014
[Augmented in 2023]
More artwork at: www.permiandesigns.com/
Instagram: www.instagram.com/permiandesigns/
Bluesky: bsky.app/profile/permiandesigns.bsky.social
NOTE: All works featured here are completely original creations. None are made with the assistance of any form of AI technology in any fashion whatsoever.
2024
More artwork at: www.permiandesigns.com/
Instagram: www.instagram.com/permiandesigns/
Bluesky: bsky.app/profile/permiandesigns.bsky.social
NOTE: All works featured here are completely original creations. None are made with the assistance of any form of AI technology in any fashion whatsoever.
Nestled in the heart of San Francisco’s bustling financial district stands 351 California Street, an emblematic structure that whispers tales of the city’s storied past amidst its ever-evolving skyline. This historic gem, constructed in 1928, boasts a façade that harkens back to an era when craftsmanship and attention to detail were paramount. The building’s Renaissance Revival style is characterized by its intricate terracotta ornamentation and grandiose presence, offering a stark contrast to the sleek modernity of its towering neighbors.
As you approach 351 California Street, you’re greeted by a sense of nostalgia; it’s as if time has stood still for this architectural marvel. The lower levels feature ornate detailing that invites passersby to ponder about the skilled artisans who shaped each piece by hand. With its rich history interwoven into San Francisco’s cultural tapestry, this landmark serves not only as office space but also as a testament to architectural ingenuity from a bygone era.
For those with an appreciation for heritage buildings, 351 California Street is more than just an address—it’s a narrative etched in stone and mortar. It represents resilience, standing proudly against seismic shifts both literal and metaphorical. As part of San Francisco’s historical fabric, this building continues to captivate architects, historians, and tourists alike.
7DWF Thursdays: Black and White
Las Vegas Nevada
”Las Vegas, in Nevada’s Mojave Desert, is a resort city famed for its vibrant nightlife, centered around 24-hour casinos and other entertainment options. Its main street and focal point is the Strip, just over 4 miles long. This boulevard is home to themed hotels with elaborate displays such as fountains synchronized to music as well as replicas of an Egyptian pyramid, the Venetian Grand Canal, and the Eiffel Tower.”
Processed With Darkroom and Snapseed
youtu.be/gJt7ZQ38ECc?si=hclfXD9GnFui3_ML
Handel. Alcina. Aria "Verdi prati" (II, 1) ·
Akademie für Alte Musik Berlin · Andreas Scholl
Verdi prati, selve amene,
perderete la beltà.
Verdi prati, selve amene,
perderete la beltà.
Vaghi fior, correnti rivi,
la vaghezza, la bellezza
presto in voi si cangerà.
Verdi prati, selve amene,
perderete la beltà.
E cangiato il vago oggetto
all' orror del primo aspetto
tutto in voi ritornerà.
Verdi prati, selve amene,
perderete la beltà.
Verdant meadows, pleasant woodlands,
You will lose your loveliness.
Verdant meadows, pleasant woodlands,
You will lose your loveliness.
Pretty flowers, purling streamlets,
your gracefulness, your comeliness,
soon will all be changed.
Verdant meadows, pleasant woodlands,
You will lose your loveliness.
And changed will be this beguiling vista;
to the horror of its former aspect
will all return again.
Verdant meadows, pleasant woodlands,
You will lose your loveliness.
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Brion Family Cemetery
Brion tomb
Cimitero Brion
Brion sanctuary
Brion-Vega tomb
Tomba Monumentale Brion
1969–1978
in San Vito d'Altivole near Treviso, Veneto, Italy
Brion Memorial - F.A.I. - Fondo Ambiente Italiano
fondoambiente.it/memoriale-brion-eng/
Brion Family Cemetery
www.archinform.net/projekte/639.htm
Brion tomb
en.wikipedia.org/wiki/Brion_tomb
Brion-Vega Cemetery
www.greatbuildings.com/buildings/Brion-Vega_Cemetery.html
Carlo Scarpa
The angles of these windows gives a distorted view of the surrounding buildings... on a Toronto street
Fire Station 11 in Columbia, Missouri. Photography by Notley Hawkins. Design by PWArchitects. Construction by Professional Contractors & Engineers. Taken with a Mavic 3 Pro at ƒ/2.8 with a 1/1600-second exposure at ISO 100. Processed with Adobe Lightroom Classic.
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©Notley Hawkins. All rights reserved.