View allAll Photos Tagged ArchitecturalDesign
Looking below from the 50th floor of the Aria Hotel, this is part of the roof to the entrance of the Aria Hotel showing its wear from the HOT desert heat of Las Vegas, Nevada, USA
youtu.be/TjaTwyHnDDA?si=xlZ8sN2724rz0zy-
Beethoven - Sonata No. 4 in E-flat major, Op. 7 (Richard Goode)
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
The PSRS/PEERS building in Jefferson City, Missouri. Photography by Notley Hawkins. Design by Simon Oswald Architecture of Columbia, Missouri. Taken with a Canon EOS R5 camera with a Canon RF15-35mm F2.8 L IS USM lens at ƒ/8.0 with a 8-second exposure at ISO 50. Processed with Adobe Lightroom CC.
Follow me on Twitter, Facebook, Instagram
©Notley Hawkins. All rights reserved.
Window cleaners working in 42 C heat keeping the views from the Aria Hotel room crystal clear. Although I do adhere to composition "rules" at times, I've never been one to abide by them. Sometimes, they just don't make sense as in this denial of the "rule of thirds" ;-) It fun to force a viewer into a direction that their eyes are not use to seeing.
This photographic image and many others on my FLICKR page are FREE to DOWNLOAD under the Attributions-NonCommercial-NoDerivs copyright.
Thanks for following me, always, Wayne S. Grazio aka fotograzio
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.
With elegant rhythm and commanding presence, this view captures one of the many grand arches and fluted Corinthian columns of the Palace of Fine Arts in San Francisco. Originally conceived by architect Bernard Maybeck for the 1915 Panama-Pacific International Exposition, the structure was meant to evoke a fallen Roman ruin—romantic, reflective, and timeless. But what was designed to be ephemeral has become a fixture of the city’s cultural and architectural identity.
In this photo, the massive columns dominate the foreground, their verticality drawing the eye upward toward the intricately carved capitals and open arch beyond. A soft, diffused sky offers contrast to the warm-toned faux-stonework of the Palace, which was originally made of wood and plaster, but rebuilt in concrete during the 1960s to preserve its beauty for generations to come. The symmetry of urns and repeating architectural motifs reinforces the Beaux-Arts principles that guided its design.
Seen through the arch is a glimpse of the colonnade and gardens that circle the central rotunda, reminding us how Maybeck’s vision was not just architectural, but experiential—meant to inspire awe, reverence, and quiet contemplation. Today, the Palace remains one of the most photographed and cherished spaces in the city. Locals walk their dogs here, wedding parties pose beneath its arches, and visitors marvel at how ephemeral design became eternal. The silence of the image captures that quiet San Francisco magic—where grandeur and grace still coexist.
Link video: youtu.be/-vhg2VkGVEg
The 3,300 square meter project has a turntable design of a ceramic craftsman, built in the heart of the ancient pottery village of Bat Trang (with unique architecture based on the idea of ancient gourd furnace by architect Hoang Thuc Hao), with a total investment of about 150 billion dongs.
The center was built and developed with the aim of honoring the quintessence of the father’s pottery, displaying unique ceramic products to visitors.
The museum is a real head-turner with its extraordinary appearance. It consists of 7 funnel-shaped buildings intertwined together, their outer walls carved into multi-layered patterns. The design is said to have been inspired by pottery wheels – the signature tool of potters. (an indispensable tool of traditional pottery making).
youtu.be/NmS3m0OG-Ug?si=7V476slJ6fTCjJhW
Severance - Official Intro Title Sequence 2022
.
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
A vacant building in Morrow Bay, CA. I think it has been empty for years. Perhaps a nightclub or restaurant in years gone by.
Framed by soaring Corinthian columns and shadowed by the coffered ceiling above, this image offers a quiet, symmetrical view looking outward from within the monumental rotunda of the Palace of Fine Arts in San Francisco. Built for the 1915 Panama-Pacific International Exposition, architect Bernard Maybeck designed this Beaux-Arts fantasy as a crumbling Roman ruin reborn in the American West.
The grandeur of the arches, captured here in a moment of stillness, calls attention to the harmony of classical design—deep entablatures, sculpted acanthus capitals, and guardian statues perched above. Through the twin arches, the eye is gently led across the lagoon’s edge toward the surrounding trees and the white dome of the Exploratorium’s former home in the distance, blending art, science, and nature into a single, evocative scene.
What once was a temporary plaster structure meant to evoke nostalgia now serves as a serene civic monument. This angle emphasizes the human scale beneath towering ornamentation, where visitors wander, artists sketch, and couples take wedding portraits. The urns and benches beneath the towering piers offer grounding contrast to the weightless vault above, where light filters through cloudy skies into this sacred architectural space.
Whether you’re here for reflection, photography, or simply to feel small under grand arches, the Palace continues to deliver Maybeck’s original vision: a place where beauty transcends function, and ruins never truly decay.
It was almost midnight when I took this shot. The crowd is still there. It might be long again before I would have the chance to take snapshots at Paris at night. Shot taken at Champ de Mars, about two hundred meters from the tower's base.
Eiffel Tower
Paris, France
Private bridge of Palazzo Querini Stampalia
Querini Stampalia access bridge
www.archinform.net/projekte/12233.htm
.
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
When Dubai’s skyline gets reflective, the view is twice as nice! 😍️
'Take Nothing but Photos, Leave Nothing but Footprints'
Nikon D810 - Nikkor 16-35mm
15sec ⎸ f/8,0 ⎸ ISO 100
Adobe Photoshop Lightroom
#MadeWithLightroom #Nikonfr
#uae #burjkhalifadubai #sunset #sunsetphotography #building #skyscraper #reflexion #water #blue #bluesky #bluehour #bluehourphotography #urban #cityscape #Dubai #uae
Nicola Matteis Passaggio Rotto Andamento veloce
.
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
An urban composition drawn from the sharp silhouettes and mirrored facades of Kesklinn, Tallinn, Estonia
Captured with Canon EOS-1D X Mark II + EF 24-105mm f/4L IS II USM.
CatalunyaCaixa is the trading name of Catalunya Banc S.A., a Spanish bank with headquarters in Barcelona and owned by BBVA. Its area of influence is located mainly at Catalonia. -Wikipedia
2014
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.
John Lewis plays Bach - Prelude No. 2 in C minor, BWV 847
.
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
Clean lines, warm light, and quiet harmony converge in this photograph of a transitional gallery space at The Phillips Collection in Washington, D.C. Captured from a vantage point on the museum’s upper floor, the image centers on a striking curved staircase that flows downward in a graceful arc. The staircase itself—white with sleek metal railings—anchors the composition, guiding the viewer’s eye into the museum’s contemporary wing.
The minimalist stairwell is surrounded by pristine white walls, its design a striking contrast to the museum’s historic wood-paneled rooms just steps away. It represents not just a spatial transition but a curatorial one: from the classical to the modern, from intimate salon to soaring gallery.
Wooden flooring with a soft amber hue adds warmth to the otherwise clean and airy scene, grounding the viewer in the museum’s domestic roots. In the lower center, a teal armchair beckons—an invitation to pause, reflect, or simply admire the interplay of space and form. A bronze sculpture on a pedestal stands on the right, elegantly framed by spotlighting. Its curves echo the fluid lines of the staircase behind it, reinforcing a visual motif of motion and organic form.
Downstairs, through the open expanse created by the stairwell, glimpses of vibrant modern art punctuate the view. A vivid abstract painting and a tall, colorful sculpture hint at the energetic collection below. These works provide a burst of texture and saturation in an otherwise minimalist palette, subtly reminding the viewer of the museum’s founding vision: to integrate art into everyday life.
On the left wall, a smaller modernist painting is lit with precision, quietly balancing the larger sculptural presence across the room. Overhead, carefully placed ceiling lights trace the room’s geometric simplicity, while signage points to the museum’s layered layout and diverse collection. The setting invites exploration—both physical and intellectual.
The Phillips Collection is renowned for bridging historical ambiance and cutting-edge curatorial practice, and this image encapsulates that duality beautifully. The architecture itself becomes part of the narrative—this is not just a space to view art, but a space where art, design, and environment interact holistically. Visitors do not simply pass through rooms; they move through experiences.
A gentle hush seems to envelop the room. The solitary chair, the poised sculpture, and the soft, ambient lighting suggest a museum that values quiet contemplation. This is a place where a visitor can lose themselves not only in the artwork but also in the architectural cadence of the space.
Overall, the photo reflects The Phillips Collection’s enduring mission: to merge the comfort of home with the dynamism of modern art. It captures a moment of stillness in motion—a staircase that spirals through time and art, housed in a museum that invites personal reflection in every corner.
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
youtu.be/j-hGUwFoM6U?si=LFSBlMAuhGrrJ9Fa
Vivaldi: Recorder Concerto in F Major "Tempesta di Mare"
.
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 bronze state seal shines in the center foreground surrounded by celadon green glass bricks illuminated from below.
The Virginia State Capitol is the seat of state government in the Commonwealth of Virginia, located in Richmond.
Looks great on a dark background with Fluidr
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