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Here comes the sun
Here comes the sun, and I say
It's alright
The porthole view from an Iberia A350, some magic from mother nature.
A window into the past.
Two generations of Alexander buses which were once the backbone for Dubliners in their daily commute.
Going back to green, former Dublin Bus Leyland Olympian RH 125, through the 90's the main double decker in Dublin, RH 125 is seen recreating a 46A on the last day of the route 25th January 2025.
Memories
One of the many great restaurants in Little Italy on Preston Street. Love how it all lights up at night with these pretty, inviting colours.
Best viewed large =)
A decorative window adorning a room for rent at a coastal retreat in Pagudpud, Philippines in the Ilocos Norte province of Luzon Island.
Locked in, but who's complaining.
Onboard "Berlin " looking out the nearside door & what a view, Lufthansa Boeing 787 Dreamliner.
Its certainly #GutenFlug
First class seat, what a view.
Seen at London City Airport, the home of the CityFlyer fleet of Embraer's, ideal for the short runway & steep landing/ take offs required.
As well as the convenience of London City Airport with quicker access to London itself, the airport provides amazing views for departing passengers, you can almost touch the wings from the gates, plus all boarding is done by walkway, there are no airbridges.
As evening light softens the streets of Washington, D.C., the Embassy of Argentina stands stately and serene at the corner of Q Street and New Hampshire Avenue NW in the Dupont Circle neighborhood. Draped in warm golden tones, the Beaux-Arts façade glows with elegance. Its signature mansard roof, embellished dormers, and iron balconies evoke a Parisian sensibility—fitting for the refined diplomacy that occurs within.
The Argentine flag flutters gently above the building’s central entryway, framed by decorative stonework and wrought-iron gates. A tall cornice adorned with dentil molding and classical detailing crowns the structure, while symmetrical windows march rhythmically across the façade. The street is quiet, with trees bare and traffic light catching just a touch of glow, allowing the embassy's architectural beauty to take center stage.
Built in the early 20th century, this former private mansion now hosts diplomatic events, art exhibitions, and cultural celebrations that bridge continents. Its location along Embassy Row places it among some of the most storied architecture in the capital, yet it retains a distinct identity—welcoming, formal, and unmistakably proud.
This image captures more than architectural splendor. It offers a moment of stillness in a city of power, and a glimpse into the enduring relationship between elegance and international presence. Whether approached as a photographer, a diplomat, or simply a passerby, the Argentine Embassy leaves a lasting impression.
Architectural Survey Appendix (Historic Documentation Format):
Name: Embassy of Argentina
Address: 1600 New Hampshire Avenue NW, Washington, D.C.
Date of Construction: Circa 1913
Style: Beaux-Arts
Architectural Features: Mansard roof, dormer windows, symmetrical façade, stone cartouche, ironwork balconies, heavy cornice, central entry with decorative relief
Building Material: Limestone and masonry with iron detailing
Number of Stories: 3.5 (including mansard)
Historic Integrity: Excellent; largely intact original exterior
Current Use: Diplomatic mission (Embassy)
Contributing Structure: Yes (part of the Massachusetts Avenue Historic District / Embassy Row)
Henry Hope & Sons Ltd were a long established manufacturer of architectural metalware and glazing systems based in Smethwick. Their publications and advertising always met high standards of typography and publishing and this wonderful and substantial book is no exception as it was printed at The Curwen Press in London and demonstrates much of their acknowledged skill.
The catalogue - Publication No. 260, issued in December 1951 - was for drawing office use giving details of specifications, sections and other information and covers a vast number of building types and architectural styles. Needless to say, although Hope's windows were sold for 'older styles' their galvanised steel glazing systems fitted well into modern architectural styles and they produced special systems for large scale projects such as office blocks, factories and power stations.
In post-war Britain the newly nationalised electricity industry was keen to catch up with the replacement of generating stations that wartime delays and use had marked down as in urgent need to replacement as well as carrying on with the move to modern, larger generating stations able to cope with increasing demand for electricity. The British Electricity Authority (later the CEA and then CEGB) inherited schemes planned by pre-nationalisation undertakings as well as designing new stations themselves. The catalogue has a extensive section on power stations as glazing, for light and ventilation as well as for aesthetic reasons, played an increasing role in their designs. Hope's not only specialised in window frames but also the many geared opening and ventilation systems.
Brunswick Wharf, otherwise known as Blackwall power station, was situated on the north bank of the River Thames in east London and was constructed on the site of the old Brunswick Dock. It had been planned pre-WW2 by the Poplar Borough Council's municipal electricity department but work did not commence until 1947 just before the undertaking was nationalised. The first section was commissioned in 1952 and this photo shows it still under construction - a massive brick clad structure that would eventually have two fluted reinforced concrete chimneys and that was designed by architects Farmer and Dark FFRIBA. The consulting engineers were Sir John Bruce & Partners. The station was decommissioned in 1984 and demolished in 1989.
At the corner of Independence Avenue and 3rd Street SW in Washington, D.C., the Hubert H. Humphrey Building stands as one of the most distinctive—and polarizing—examples of federal Brutalist architecture. Designed by Hungarian-born modernist architect Marcel Breuer, the building was completed in 1977 and named in honor of Vice President Hubert H. Humphrey, a champion of civil rights and public health. It houses the U.S. Department of Health and Human Services (HHS), an agency that evolved from the original Department of Health, Education, and Welfare.
This hulking concrete structure embodies the Brutalist ethos: raw concrete (béton brut), dramatic geometry, and fortress-like massing. The repetitive modular façade—composed of sculptural precast concrete window hoods—casts deeply recessed shadows that change throughout the day, creating an ever-evolving play of light and form. Breuer’s distinctive use of triangulated surfaces and exaggerated cantilevers gives the building a sense of heavy monumentality while allowing for unexpected nuance and rhythm in the fenestration.
While often criticized for its austere and imposing aesthetic, the Humphrey Building remains an enduring representation of the era’s civic architectural ambition—meant to project governmental strength and permanence during a time of post-Watergate disillusionment. Breuer, best known for his contributions to the Bauhaus and his design of the Whitney Museum in New York, brought a humanist touch to Brutalism. The building's pilotis—elevating it above the ground—were intended to create openness and flow at street level, though tight security measures today limit public access.
Located within the heart of the Capitol complex, the building’s design has become a flashpoint in debates over the future of federal architecture. While some advocate for its preservation as a masterwork of late modernism, others view it as a relic best replaced with more "classically inspired" forms.
Regardless of aesthetic preference, the Hubert H. Humphrey Building is a significant artifact in the narrative of 20th-century American government architecture. It’s a monument to a particular moment in U.S. history—one shaped by the Great Society, by expanding social programs, and by bold (if controversial) ideas about what government buildings should look like.
Henry Hope & Sons Ltd were a long established manufacturer of architectural metalware and glazing systems based in Smethwick. Their publications and advertising always met high standards of typography and publishing and this wonderful and substantial book is no exception as it was printed at The Curwen Press in London and demonstrates much of their acknowledged skill.
The catalogue - Publication No. 260, issued in December 1951 - was for drawing office use giving details of specifications, sections and other information and covers a vast number of building types and architectural styles. Needless to say, although Hope's windows were sold for 'older styles' their galvanised steel glazing systems fitted well into modern architectural styles and they produced special systems for large scale projects such as office blocks, factories and power stations.
In post-war Britain the newly nationalised electricity industry was keen to catch up with the replacement of generating stations that wartime delays and use had marked down as in urgent need to replacement as well as carrying on with the move to modern, larger generating stations able to cope with increasing demand for electricity. The British Electricity Authority (later the CEA and then CEGB) inherited schemes planned by pre-nationalisation undertakings as well as designing new stations themselves. The catalogue has a extensive section on power stations as glazing, for light and ventilation as well as for aesthetic reasons, played an increasing role in their designs. Hope's not only specialised in window frames but also the many geared opening and ventilation systems.
Ocker Hill power station was, for many years, a prominent landmark in the landscape around Tipton in the heart of the Black Country. The station was originally opened for the Midland Electric Corporation in 1902 and the station passed into the control of the West Midlands Joint Electricity Authority in 1927 before nationalisation. This shows a section of 1940s reconstruction that was carried out to plans by L G Mouchel & Partners. The station was decommissioned in 1977 and demolished.
Henry Hope & Sons Ltd were a long established manufacturer of architectural metalware and glazing systems based in Smethwick. Their publications and advertising always met high standards of typography and publishing and this wonderful and substantial book is no exception as it was printed at The Curwen Press in London and demonstrates much of their acknowledged skill.
The catalogue - Publication No. 260, issued in December 1951 - was for drawing office use giving details of specifications, sections and other information and covers a vast number of building types and architectural styles. Needless to say, although Hope's windows were sold for 'older styles' their galvanised steel glazing systems fitted well into modern architectural styles and they produced special systems for large scale projects such as office blocks, factories and power stations.
In post-war Britain the newly nationalised electricity industry was keen to catch up with the replacement of generating stations that wartime delays and use had marked down as in urgent need to replacement as well as carrying on with the move to modern, larger generating stations able to cope with increasing demand for electricity. The British Electricity Authority (later the CEA and then CEGB) inherited schemes planned by pre-nationalisation undertakings as well as designing new stations themselves. The catalogue has a extensive section on power stations as glazing, for light and ventilation as well as for aesthetic reasons, played an increasing role in their designs. Hope's not only specialised in window frames but also the many geared opening and ventilation systems.
Skelton Grange had been planned by Leeds City Council's municipal electricity undertaking in pre-WW2 days but construction of the coal fired "A" station did not begin until 1946 and the undertaking was nationalised in 1948 with the incomplete station passing to the British Electricity Authority. It was commissioned between 1951 and 1956 and was joinend on the site by the "B" station in 1960/62. The A station was decommissioned in 1983 followed by the B station in 1994. This photo shows the station under construction in the late 1940s to designs by the consulting engineers, Sir Alexander Gibb & Partners.
Henry Hope & Sons Ltd were a long established manufacturer of architectural metalware and glazing systems based in Smethwick. Their publications and advertising always met high standards of typography and publishing and this wonderful and substantial book is no exception as it was printed at The Curwen Press in London and demonstrates much of their acknowledged skill.
The catalogue - Publication No. 260, issued in December 1951 - was for drawing office use giving details of specifications, sections and other information and covers a vast number of building types and architectural styles. Needless to say, although Hope's windows were sold for 'older styles' their galvanised steel glazing systems fitted well into modern architectural styles and they produced special systems for large scale projects such as office blocks, factories and power stations.
In post-war Britain the newly nationalised electricity industry was keen to catch up with the replacement of generating stations that wartime delays and use had marked down as in urgent need to replacement as well as carrying on with the move to modern, larger generating stations able to cope with increasing demand for electricity. The British Electricity Authority (later the CEA and then CEGB) inherited schemes planned by pre-nationalisation undertakings as well as designing new stations themselves. The catalogue has a extensive section on power stations as glazing, for light and ventilation as well as for aesthetic reasons, played an increasing role in their designs. Hope's not only specialised in window frames but also the many geared opening and ventilation systems.
The cover is finished in a Curwen pattern paper (Colourway No. 130B) and is a design by Edward Bawden. The title is a pasted slip.
This design was my interpretation of one of the bedroom windows in Frank Lloyd Wright's Darwin Martin House in Buffalo. The couple who chose this as their wedding cake were extreme minimalists, and getting this to work was a challenge.
A traditional window design in the Bhumia tribal village of Ganiput, near Boipariguda, in SW Orissa.
Henry Hope & Sons Ltd were a long established manufacturer of architectural metalware and glazing systems based in Smethwick. Their publications and advertising always met high standards of typography and publishing and this wonderful and substantial book is no exception as it was printed at The Curwen Press in London and demonstrates much of their acknowledged skill.
The catalogue - Publication No. 260, issued in December 1951 - was for drawing office use giving details of specifications, sections and other information and covers a vast number of building types and architectural styles. Needless to say, although Hope's windows were sold for 'older styles' their galvanised steel glazing systems fitted well into modern architectural styles and they produced special systems for large scale projects such as office blocks, factories and power stations.
In post-war Britain the newly nationalised electricity industry was keen to catch up with the replacement of generating stations that wartime delays and use had marked down as in urgent need to replacement as well as carrying on with the move to modern, larger generating stations able to cope with increasing demand for electricity. The British Electricity Authority (later the CEA and then CEGB) inherited schemes planned by pre-nationalisation undertakings as well as designing new stations themselves. The catalogue has a extensive section on power stations as glazing, for light and ventilation as well as for aesthetic reasons, played an increasing role in their designs. Hope's not only specialised in window frames but also the many geared opening and ventilation systems.
The frontispiece takes the form of this extract from Charles Dicken's The Pickwick Papers that describes the arrival in the industrial city of Birmingham and the Black Country, where Smethwick was to be found, in Victorian times. The splendid illustration is by J O'C.
Studio M was first contracted by a promotions company to design and provide the presentation material for the six windows for David Jones' Christmas display in 2006. Once the submitted design was won, StudioM was then contracted to create the six window scenes and oversee all contracted work into those scenes.
The promotions company delivered the steel frames in 4-6 sections, with undercoated plywood sides and floor..... bare 'canvasses'.... ready for StudioM to create the scenes within. The design and construction for the six window scenes was done at our small workshop in Tinbeerwah. As each scene was completed it was transported to the premises of the local promotions company so the mechanism to provide the up and down movements for the puppets and the lighting could be inserted overhead, ready for David Jones' VM mgr to inspect. The North Pole Deer Club shows the other reindeer - all brown noses - enjoying a good time (moving 2D silhouettes playing table tennis, cards and darts ) whilst Santa consoles the different, odd looking Rudolph and asks for his help. Considering this was the first of the six window scenes StudioM made for the project, this all seems rather ironic in hindsight. Rudolph's head was designed to hang low and lift up slightly allowing his mouth to open in a smile and his eyes to roll open making him look happy. His nose was left hollow and the red end was deliberately left with a thin layer of latex coated in red tinted 2 pack estapol so that a low voltage light could be placed inside and glow through. There is an opening at the back of his head, unseen from the front, that allows any heat build up from this light to escape. We tested this in our studio with a low volt light for a long time and it worked well. The group of reindeer in the back were designed, as outlined in StudioM's written description within our presentation material to DJ's, to have synchronised lighting focus on them at the appropriate end of the song with their placards then moving up and down to cheer Rudolph as their new hero, but unfortunately this did not happen. The placards moved up and down continuously without synchronisation as was the lighting. The company was unable to synchronise the actions and focus lighting with this reindeer group to coordinate with the appropriate end of the song, as intended in StudioM's orginal design and notes that were presented to David Jones. It would have been more effective had this happened. Mice were made by Juanita Wellings in Clifton to our original design/ drawing and instructions on how to make, as well as Santa and his torso, which sits on a metal stand. StudioM provided the red fur material with the white fur binding already attached for his outfit to be made. Once made they were posted to our studio for us to add accessories, place and secure within the scene. All original design presentation and sketch drawings, specifications and instructions to others for mechanics/puppets, and original molds/ templates used in the scene are retained by StudioM as the designer and creator of the scene.
Visit www.flickr.com/photos/silverspot/sets/72157627374956322/ to see many humorous closeup shots of the six window scenes
View www.flickr.com/photos/rgmstudiom/sets/72157594460492921/ to see many photos of the windows under construction, from the arrival of steel frames with white undercoated plywood sides and floors as bare canvasses, to the completed scenes in their sections being transferred onto a truck against a backdrop of the natural forest and bushland setting at StudioM's workshop. Note: some of these photos are restricted viewing.
Sometimes, when I'm photographing a miniature set, I forget how small it really is until I my hand appears in the viewer while I'm adjusting something!
This is one of six scenes that StudioM designed and made at our tinshed workshop for use in the David Jones Sydney Christmas window display in 2006. As well as designing and providing the presentation material for the six scenes, StudioM created each scene inside the 6 windows and directed the manufacture of any outside components used within the scenes from our small workshop shed in the Noosa Hinterland. After the promotions company, which had for years displayed many of our scenes at shopping centres, Santa's Kingdoms etc, was invited to submit a design proposal for the David Jones 2006 Christmas windows, the promotions company contracted StudioM to firstly design the windows and provide all of the presentation material for them to present to DJ's visual management, and then once the design was won, contracted StudioM to create the six scenes for them. The scenes were so successful that the promotions company has been given the contract since 2006.
The Promotions company delivered the blank scenes made of steel frames with undercoated plywood sides and floors.....virtually a bare canvas for us to create the scenes, plus the extra plywood we needed, some black paint, some latex and any styrene that I had quantified and directly ordered from the manufacturer, to our studio. As we completed each of the six scenes, they were transported to the promotions factory where the mechanism for some motion, lighting and external finishes were added. It was here that the VM managers from David Jones viewed them each time a full window scene was finished. There are photos of the bare scene box sections, made of steel frames and undercoated plywood sides and floors, arriving at our studio on the back of a ute. As a comparison, there are also photos of the completed scenes with puppets secured in position, being picked up from our studio by the promotions company's director. Interesting juxtapositions of the completed scenes, some with snow, against the sunny backdrop of the trees and bushland of the StudioM site at Tinbeerwah.
Click on the DJ's under construction set to see photos of other scenes in the making at our workshop. The children choir, the overhead puppeteer and the objects outside the stage scene were made elsewhere, out of our control and disappointingly not to the design drawings or conveying the character or story first shown to DJ's. See the design drawings in the David Jones set. The elves, mice, and the heads of the musical elves in the front were made by Juanita Wellings in Clifton exactly to our drawings, direction and specifications.
Click www.flickr.com/photos/silverspot/sets/72157603575240201/ to see StudioM scene displayed in NZ and www.flickr.com/photos/silverspot/sets/72157627374956322/ in Sydney with many humourous closeup shots of the six windows.
Displayed at Smith and Caughey in Auckland NZ for their Christmas 2008 window. Previously used in David Jones 2006 Christmas windows in Sydney. StudioM was contracted by an animations and Promotions company in Jan 2006, to firstly design the six scenes and provide presentation material for the tender. Once our design had been chosen, the promotions company contracted StudioM to create the scenes for the six David Jones windows, supervising and coordinating components within the scenes. We did this at StudioM's small home studio. The Promotions company delivered the blank scenes made of steel frames with the sides covered with undercoated plywood, plus the extra plywood, some paint, latex and styrene needed to our studio and picked up each of the six scenes as we finished them, siting them in their factory where they put in some motion, lighting and external finishes. It was here that the VM managers from David Jones viewed them each time a full window scene was finished. The motion of simplistic up and down movements was created by the insertion of an overhead rotating shaft and cam system. These cams connected with fishing lines attached to the objects below which created some movement as the cams rotated. It is a simple basic system widely used. The scene was recycled and used again at Smith and Caugheys two years later.
This middle part of the scene shows the six laying geese are struggling hard to lay. One has a happy clucky look whilst another is knitting web shaped bootees and one should be looking up to the partridge which has dropped a calling card on her head. Juanita made dancing ladies,geese, partridge and mouse to my drawings and specifications. StudioM added all the little bits to them. StudioM drew the templates for each individual piece of the maids, the drummers, the pipers, the lords from which Greg at the promotions company cut them out. StudioM painted the drummers and the pipers, made the snail for the french scene, and the turtle doves. StudioM designed the arms of the drummers/pipers so they would lift and drop in unison when pulled and dropped off at the same point from above and my husband added some weight to each arm to assist in this. The 5 is on the gatepost, the 6 a row of ants in front of goose with twins, the 1 is on pear which the partridge has pecked at, the 4 is yet to go on as 'Area 4' on an information chart that a calling bird from a call centre will hold under its wing, and the 12 is a mob of sheep on the far hill. The sunbaking mouse was a later request of mine to Juanita for her to make to fill in a bare spot and add some more humour. StudioM positioned all puppets bar the 4 calling birds at our studio before the scene's delivery to the factory of the promotions company. The original drawings, sketches, templates, and presentation brief are held by StudioM.
To view many more closeup and interesting shots of this and the other five scenes look at www.flickr.com/photos/silverspot/sets/72157627374956322/