View allAll Photos Tagged architecture_view
MuCEM + Fort Saint-Jean, Marseille, France - 2013 -Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a free breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
designed by Jacopo Barozzi da Vignola
executed by Fra Damiano da Bergamo
for the Chateau de la Bastie d´Urfé, France
property of the Metropolitan Museum of Art, New York
for educational purpose only
please do not use without permission
With all my ❤️ I thank you for your ⭐ or 💬 or just for 👀 it.
A 📷 taken by me + Camera Raw
THIS PHOTO IT'S NOT AI 📀
You can look at the Exif data on your right.➡️ in pc, and on phone below the comments 👇
Hello, Flickr friends!
Today, I’m sharing one of the most iconic views of Barcelona, captured from the famous Park Güell. Even though the park was filled with tourists, I managed to find the perfect moment to let Gaudí’s architecture shine without distractions, framed by the city’s colors and the sea in the background. The scattered clouds and soft morning light add a special atmosphere, highlighting the mosaic tower in the foreground and, in the distance, the majestic Sagrada Família.
I hope you enjoy this shot as much as I enjoyed capturing it!
MuCEM + Fort Saint-Jean, Marseille, France - 2013 -Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a free breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
atelier ying, nyc.
This came to me in a dream: Weegee stood in a coffee brown suit, and my friend and I took his picture. He was also signing autographs for people. The film holder of the camera held not only the negative but also previously developed pictures, amazingly. Weegee told me that this camera had a better portrait lens than a Schneider lens and this edition of Graflex camera was called the "Cobalt" which had its nameplate closer to the lens than the other models of the Crown Graphics.
Looking at my dream, my thinking is that Weegee focused upon the dead in part of his work. Joseph Cornell's fantasy ruminations of figures in the beyond are mostly cloaked behind deep cobalt blue glass, a symbol of the spiritual as well as a device to give an image a spiritual dimension.
My proposed design for the "Cobalt Graphic" follows the general idea of the Crown camera except:
1. I've removed the targeting loop and rangefinder and replaced them with an external viewfinder that memorializes the subject it focuses upon. This EVF design is made after the wonderful African Burial Ground National Monument in New York's lower Manhattan. The camera's viewfinder has a cowling that descends over its base to connect two triangular shapes, representing heaven and earth, an architectural view that takes place (my interpretation) when you descend the steps of the actual memorial. The EVF is lined with cobalt glass and black mirror glass. The cowling snaps up after the picture is taken by a cable connection.
2. this modified crown graphic is digitized. The focal plane film holder holds prints and its function is changed to be a simple dark-slide in front of the digital sensor.
3. the external flashgun is replaced with a lower voltage diffuse light that can stay on for much longer than a flash bulb (the dream of all graflex shooters)
4. Suitable filters and digital settings are provided to render photos to give the 'cobalt' look.
5. the graflex body is refinished to extend to accommodate a digital camera allowing the bellows to have a more normal looking extension as well as to move the digital shutter towards the front of the Graflex by a remote. This way the LCD of the digital camera can really look like a facsimile hood of the original crown.
Lastly but for me one of the first considerations, this design is drawn on 6"x 3.5" Mead Memo notebook paper, in the kind of notebook used by Diane Arbus (hers was black), another photographer concerned with otherworldly visions. Please also view my Weegee set of camera designs.
Design, text and drawing are copyright 2013 by David Lo.
Sempringham's priory was originally located in a field close to the hamlet that today consists of a couple house and the church. Gilbert of Sempringham built the priory in 12th-Century and was later buried in the church built around 1100. The priory was kept running until the 16th-Century when it was dissolved, it became possession to the Clinton family who demolished it leaving no trace of it.
Dubai / United Arab Emirates
See where this picture was taken. [?]
Here you can see the panorama with the interactive 360 degree viewer
(8 single shots)
© All Rights Reserved - you may not use this image in any form without my prior permission.
Dzisiaj dla odmiany świeżutkie zdjęcie otwartego holu w INTEMPO
Miejsce jest na tyle piękne, że nie mogłem sobie odmówić „szybkiego kadru”, tuż po zakończonej sesji 😎
Pozytywnego tygodnia dla Wszystkich!
Zapraszam na Instagram:
MuCEM + Fort Saint-Jean, Marseille, France - 2013 -Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a free breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
MuCEM + Fort Saint-Jean, Marseille, France - 2013 -Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a free breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
Visited Lucca and took some creative shots of its beautiful architecture. Lucca is a small city that hides tons of beautiful monuments, it's worth a while.
Gibson Mill in Hardcastle Crags has just completed its third transformation since it was first opened as a cotton mill by Abraham Gibson in 1800.
Ouvert en 1974, le Kulturhuset est un centre culturel sur le côté sud de la place Sergels torg dans le centre de Stockholm. Elle fut le siège du Parlement de Suède jusqu'en 1983.
Stockholm, Sweden.
I was here, I was watching the waves and I always noticed this little pier, but I have never included it in my photos. So, now, this is the opportunity, this is my chance.
All images are COPYRIGHTED, and may not be used for any commercial purpose, printed, or re-used in any form without written consent of GIOVIS DIMITRIS (giovdim) You may blog about or make reference to my work in its original form, with full credit or link back to my Flickr page. Thank you
Tinos 360 gr: "The climate and the environment shaped the structure of the harvest fields, with the help of the local laborers. Thereby, the peasants transformed the high slopes into cultivable land by means of constructing sustaining stone-walls (or “scales” in the local dialect) which they created, building them with dry stones (like benches). This usage was present in Tinos even during antiquity. The phenomenon existed already since the 4th century BC, namely that the inhabitants of the island used to give this form to these narrow bands of earth along the slopes of the island hills, sustaining the earth masses in between.
Indeed those “scales” were also called “Trafos” (anagrammatism of the ancient Greek word (tafros) “trench”) and they formed natural water tanks or cultivable land. In this way, the surface becomes even, the ground is kept back and doesn’t drift away because of the rains. On the inside part of the “scale”, fig trees or vineyards are planted, so they can protect the crops from northern winds, but also in order to preserve humidity. The farmers’ access into their property is allowed through narrow paths, similarly built with dry stones along the borders of the fields, usually with steps due to the inclination of the ground."
Taken from inside the Musseden Temple outside Coleraine, Northern Ireland.
This is a very famous view and a popular location for weding photographs, I woul ddearly love to shoot a wedding here one day (provided the weather was OK...)
Nice light in the shadows of the window and a very moody sky! Find me on: Facebook
This is Upleatham church, which is in between Saltburn & Guisborough, This is the second smallest Church in Britain.
Pierre-Antoine Demachy (1723-1807) - Fantastical architectural studies with figures
These delicate and ethereal paintings depict what appears to be the same grand country villa, first at a distance in profile and then closer up in cross-section. Although generally Palladian in design, the many ornate sculptures and elaborate cornices and moldings that Demachy has added, give the structure an almost fantastical, fairy-tale air. Although it is unclear whether these paintings were intended as actual studies for a building project or as architectural capriccios, the promenading figures and the bits of fallen stone, which dot the landscape in the cross-section image, seem to suggest the latter. There are a few small architectural differences between the two structures (mainly in their sculptural ornamentation and the placement of the outdoor fountains); however, the similarities are so striking that one can be sure the artist intended to depict the same building.
Best remembered as a painter of architectural views and history scenes, Demachy studied under the painter and architect Servandoni before being accepted into the Academy in 1755. He was appointed teacher of perspective in 1786 and, like his contemporary Hubert Robert, was keenly interested in the dramatic and rapid architectural changes occurring in Paris during the final years of the monarchy and early years of the Revolution. He recorded many of these alterations in works such as The Demolition of Saints Innocents, Paris (formerly with Cailleux, Paris) and The Clearing of the Colonnade du Louvre (formerly in the Karl Lagerfeld Collection). Today, these works and other similar paintings and drawings from the period serve as an important source of information that aid in historical reconstructions of the city.
www.sothebys.com/es/auctions/ecatalogue/2011/old-master-p...
Maulbronn monastery architecture, view from withing the cloisters toward the iconic timber framed fountain house.
Baden-Württemberg, Germany. Sony Nex3
youtube.com/watch?v=vbTE9ezQfZ4
ikea.com/at/de/stores/wien-westbahnhof/nachhaltigkeit-bei-ikea-wien-westbahnhof-pubdd72bf80
ikea.com/at/de/stores/wien-westbahnhof
SOTHEBY'S AT CHATSWORTH:
A SELLING EXHIBITION
beyondlimits.sothebys.com/sculpture.html?num=21&play=1
© 2014 Tony Worrall
artist:DAX
PHOTOGRAPHOHOLIC
I born to capture |
(C) DAX ☆
All rights reserved!
Unauthorised use prohibited!
No stopping until the Walbert...
Continuing exploration into the intersection, of my photography and Baltimore. Available as a print for your wall.
gerry@gerrychase.com