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Anglia Square aerial view - Norwich. Controversial redevelopment plans, brutalist architecture and a slice of the city’s dismal post-war history.
Photographed in full-frame detail using a Nikon D850, this is a high-resolution aerial image
Founded in 1897 by art historian George Fisk Comfort (co-founder of the Metropolitan Museum of Art in New York City), the Everson has outgrown a number of facilities. This building was designed by I. M. Pei, and was opened in 1968. Both inside and out it is regarded as a work of art in its own right.
I captured this photograph on a visit to the sound mirrors at Dungeness, Kent, UK. I like how this abstract shot captures the intricate textures of the aged material and shows the engineered curvature against a soft, natural light.
The Dungeness sound mirrors, remnants of an early acoustic defence system designed to alert against enemy aircraft, now stand as silent testaments to pre-WWII ingenuity. More details available on the official RSPB website at www.rspb.org.uk/days-out/reserves/dungeness.
Founded in 1897 by art historian George Fisk Comfort (co-founder of the Metropolitan Museum of Art in New York City), the Everson has outgrown a number of facilities. This building was designed by I. M. Pei, and was opened in 1968. Both inside and out it is regarded as a work of art in its own right.
JAMKARAN, Qom province, Iran - Concrete mausoleum shaped as a tulip flower in Jamkaran-Qom for anonymous shahids martyrs of the Iran-Iraq war lit up and visited at night by Iranian youth paying their respect to their nation's heroes.
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I photographed these rather brutalist looking wheat/flour silos from the train. They intrigue me every time I pass by there.
Anglia Square aerial image - Norwich. Controversial redevelopment plans, brutalist architecture and a slice of the city’s dismal post-war history.
Photographed in full-frame detail using a Nikon D850, this is a high-resolution aerial photograph
Founded in 1897 by art historian George Fisk Comfort (co-founder of the Metropolitan Museum of Art in New York City), the Everson has outgrown a number of facilities. This building was designed by I. M. Pei, and was opened in 1968. Both inside and out it is regarded as a work of art in its own right.
Founded in 1897 by art historian George Fisk Comfort (co-founder of the Metropolitan Museum of Art in New York City), the Everson has outgrown a number of facilities. This building was designed by I. M. Pei, and was opened in 1968. Both inside and out it is regarded as a work of art in its own right.
Founded in 1897 by art historian George Fisk Comfort (co-founder of the Metropolitan Museum of Art in New York City), the Everson has outgrown a number of facilities. This building was designed by I. M. Pei, and was opened in 1968. Both inside and out it is regarded as a work of art in its own right.
Apartment blocks never completed to house people left homeless in the 1988 earthquake
The 1988 Armenian earthquake, also known as the Spitak earthquake (Armenian: Սպիտակի երկրաշարժ, romanized: Spitaki yerkrasharzh), occurred on December 7 at 11:41 local time with a surface-wave magnitude of 6.8 and a maximum MSK intensity of X (Devastating). The shock occurred in the northern region of Armenia (then Armenian SSR, as part of the Soviet Union) which is vulnerable to large and destructive earthquakes and is part of a larger active seismic belt that stretches from the Alps to the Himalayas. Activity in the area is associated with tectonic plate boundary interaction and the source of the event was slip on a thrust fault just to the north of Spitak. The complex incident ruptured multiple faults, with a strike-slip event occurring shortly after the initiation of the mainshock. Between 25,000 and 50,000 were killed and up to 130,000 were injured.
From Wikipedia
Boldly curving lines and stark concrete dominate this striking architectural photo of the Hirshhorn Museum and Sculpture Garden, part of the Smithsonian Institution in Washington, D.C. The image centers on the museum’s inner courtyard and iconic fountain—now empty, exposing its deep mechanical structure like the gears of a machine—set within the circular embrace of Gordon Bunshaft’s modernist building.
Opened in 1974 and named after financier and art collector Joseph H. Hirshhorn, the museum is known for its radical departure from the neoclassical architecture of the National Mall. Designed by architect Gordon Bunshaft of Skidmore, Owings & Merrill, the cylindrical building’s clean curves and minimalist windows suggest an almost otherworldly presence—a concrete drum that defies convention. The brutalist aesthetic is unmistakable, yet softened here by the organic circularity of the space.
The symmetry in this photo draws the eye inward, emphasizing the sculptural fountain at the center. Radiating ribs in the surrounding stone direct visual flow to the middle, while the upper stories of repeating rectangular windows offer a rigid contrast to the radial lines below. The yellow “WELCOME” banner to the left and the bold “HIRSHHORN” text to the right add bursts of color and contemporary branding, anchoring the institution’s identity amid the concrete.
Visitors appear through the glass corridor behind the fountain—some pausing, some in motion—offering a scale reference and a reminder that this is a living museum. Their presence breathes life into an otherwise monolithic setting, illustrating the museum’s role not only as a home for modern art, but as a vital public gathering space in the heart of D.C.
From the moment it opened, the Hirshhorn Museum has challenged assumptions about what an art museum should be. Its architecture alone is a sculptural work of art—often drawing comparisons to a spacecraft, a fortress, or even a giant doughnut. The building’s shape allows for an uninterrupted gallery loop, with exhibitions wrapping around the perimeter and views periodically opening into the sky-lit courtyard.
The sculpture garden below street level further expands the museum’s reach, offering works by artists such as Rodin, Henry Moore, and Yoko Ono. The museum’s curatorial focus on postwar contemporary art makes it one of the premier destinations for avant-garde, boundary-pushing visual expression in the United States.
This image captures more than just a moment of architecture—it distills the very ethos of the Hirshhorn: forward-thinking, visually striking, and unapologetically modern. It’s a place where art meets infrastructure, where design becomes the experience, and where Washington’s powerfully traditional architecture gives way to fearless experimentation.
Founded in 1897 by art historian George Fisk Comfort (co-founder of the Metropolitan Museum of Art in New York City), the Everson has outgrown a number of facilities. This building was designed by I. M. Pei, and was opened in 1968. Both inside and out it is regarded as a work of art in its own right.
..by Gu Wenda, a permanent collection of San Francisco Museum of Modern Art, 1999.
Media: human hair, glue, and rope.
Size: 75 feet high x 34 feet in diameter (about 23 Meters x 10 meters)
From the Victorian Heritage Database (citation written in 1999):
"Beaurepaire Tyre Services Pty. Ltd. erected the Bendigo garage in 1958 to replace earlier premises, also in Hargreaves Street, built in 1930. The company purchased the present site, at the corner of Edwards Street, in 1958, and built the circular structure to a design seen by Ian Beaurepaire on a tour through the United States of America. Alongside this building, a tyre factory was erected in cream brick, for the garage essentially repaired and sold automobile tyres. Parallel to Hargreaves Street, however, was a pump island, with Golden Fleece bowsers sheltered beneath the main building's circular canopy.
The Beaurepaire Tyre Service at Bendigo is of architectural significance to the State of Victoria.
The Beaurepaire Tyre Service garage was designed by prominent Melbourne architects, Eggleston, McDonald and Secomb, as a fantastic eye-catching building. As a 'round house' service station, Beaurepaire West Bendigo is unique in Victoria. Built in 1958 to a design seen by Ian Beaurepaire on a tour through North America, the service station reflected the growing influence of the United States in post-war architectural design. The Beaurepaire Tyre Service at Bendigo combines architecture and advertising. The building, round like a tyre, declares its function to passers-by.
The service station is also historically significant for its association with the Beaurepaire Tyre Service Pty Ltd, a large and successful retailer and manufacturer of automobile tyres founded in 1922 by Sir Frank Beaurepaire."