View allAll Photos Tagged exteriorarchitecture
Framing within a frame is a classic composition resource, which was placed on a tray by the access doors to the Itmad ud Daula in Agra. In this case, the symmetry of the main building was asking the rest of the scene to unfold accordingly. The converging lines at the base are arranged with the intention of directing the gaze.
The photo is taken with a 14mm lens to accentuate the depth. For the focus I calculated the hyperfocal, so that there was sharpness both in the foreground and in the background.
uando llegamos y vi las salinas, casi deshidratadas, confieso que me dio un cierto bajón. La idea preconcebida de hacer una toma del reflejo de la iglesia con el sol poniéndose a sus espaldas empezó a desvanecerse. Conforme iba caminando entre las balsas, comencé a entusiasmarme con las posibilidades que ofrecía la textura de la sal cristalizada. En algunas zonas los humedales permitían hacer capturas de la iglesia reflejada. Pero lo suyo era buscar el punto donde el sol se escondiese detrás de la iglesia. Y en aquel punto no había agua. Pero mi amigo Manolo, más conocido como "Zapicañas" decidió buscar un primer plano potente y se bajó hasta el salar. Viéndolo allí supe que aquella era la foto. Una imagen que refleja todo lo que hemos disfrutado este fin de semana fotográfico en Cabo de Gata con la buena gente de "El Cabo en Fotos"
Arkitectura.
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MIAMI DOWNTOWN BUILDINGS.
MIAMI | USA | 2022
©2023RubyFernandez-Brown
Instagram: @RubyPhotografia
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The village of Dorothy, which never grew beyond 100 residents, is considered one of Alberta’s classic pioneer communities, serving as a popular social centre in the first half of the 20th century in the heart of the province’s famed Badlands Country.Dorothy is located about 15 miles southeast of Drumheller in a flat valley bottom. A few years after the turn of the 20th century, Percy McBeath, a store keeper living in the immediate area, applied to have a post office and wanted to name the site Percyville. However, the district post office inspector decided instead to name the site Dorothy, after the daughter of Jack Wilson, and early rancher who first arrived in the area in 1900. The Dorothy post office officially opened in 1908.The hamlet grew modestly and enjoyed its greatest prosperity in the late 1920s, shortly after a railway line was built through the area.At one time the village had three elevators, the Alberta Wheat Pool, the Alberta Pacific and the United Grain Growers, a grocery store, a butcher shop, pool room, telephone office, restaurant and a machine agency. A school was opened in 1937 and lasted in the hamlet until 1960. The village also supported two churches — a United Church from 1932 to 1961 and a Roman Catholic church from 1944 to 1967. The two churches were considered the focal point for the entire region’s important social events. They still stand today, but are gradually being withered away by time and the elements.Less than a dozen residents live in the hamlet today. One grain elevator, long closed down, still evades being torn down. A community hall still serves residents of the area.
See the complete selection on Behance: www.behance.net/gallery/16760787/Casa-Mila
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.
See the complete selection on Behance: www.behance.net/gallery/16760787/Casa-Mila
Exterior Architecture.
A quick edit, final edit/crop will happen in the near future. This was taken outside the Nortel Building Sunday evening around 5-530pm.
More Coming!
4x5 - EPP
1 minute exposure / f/11
Scanned with V750
A Arquieparquia de São João Batista em Curitiba dos Ucranianos (Archieparchia Sancti Ioannis Baptistae Curitibensis Ucrainorum) é uma circunscrição eclesiástica pessoal da Igreja Católica para os fiéis de rito ucraniano de tradição bizantina residentes no Brasil.
Tem como eparquia sufragânea a Eparquia da Imaculada Conceição em Prudentópolis dos Ucranianos, criada a partir de um desmembramento da então Eparquia de São João Batista em Curitiba dos Ucranianos. Sua catedral é a Catedral Ucraniana São João Batista.
O Exarcado Apostólico para os fiéis de rito ucraniano foi criado a 30 de maio de 1962 pela bula Qui divino consilio, do Papa João XXIII. Em 1971, o Papa Paulo VI, por meio da Constituição Apostólica Sancti Ioannis Baptistae Curitibensis Ucrainorum, elevou o exarcado à dignidade de Eparquia e constituído sufragâneo da Arquidiocese de Curitiba.
Em 2014, o Papa Francisco, elevou a Eparquia à dignidade de Arquieparquia.
The shop.
Stop by today - you know you deserve it!
1919 Union Street, SF
At Laguna, near The Bus Stop!
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The wooden C.P.R. âHowe Trussâ bridge over the Red Deer River at East Coulee was first built in 1936 only to be destroyed by heavy flooding and ice floes in April 1948. It was rebuilt to the same design soon thereafter. Even in the 1930s a wooden Howe Truss bridge was almost anachronistic. First patented in 1840 by Massachusetts millwright William Howe, they were primarily used in the 19th century for bridges across North America. The East Coulee bridge remains a rare example of wooden bridge architecture, and as such, merits proactive conservation measures.
The bridge has an important historical connection to Atlas No. 3 Coal Mine National Historic Site (the last in the Drumheller/Red Deer River valley). It provided the essential transportation link to the main rail lines across the Red Deer River. From the dual CPR/CNR branch line near the town of East Coulee, the bridge enabled trains to cross the river and service both the Monarch and the Atlas coal mines. It was also used by trains delivering coal, the primary domestic heating source, to communities throughout Western Canada. The Statement of Significance for the National Historic Site designation of Atlas No. 3 Coal Mine National includes the bridge as an important character-defining elelment.
Closed in the mid-1970s, the Atlas Mine was recognized as an Alberta Provincial Heritage Resource in 1989 and became a National Historic Site of Canada in 2001. The latter designation notes the significant role Atlas No. 3 Coal Mine played âin the history of the coal industry in Drumheller ⦠the most productive plains coalfield in Alberta and southeastern BC from WWI to the 1950s.â
First of many shots in that location. Jenni is a lady of many talents, playing the violin is just one of them.
Set against the stark scenery of the Canadian Badlands, the Atlas mine was the last of the Drumheller-area coal mines, one of 139 that left a series of ghost towns in their wake as natural gas replaced coal for heating Canadian homes. Today, the mine is a national historic site, and interpreters offer a glimpse of what it might have been like to live and work here, with tours of the last remaining wooden tipple in the country, the miner's shacks, mining office and an eerie washhouse, where ghostly apparitions have apparently been glimpsed by both staff and local psychics.However, they did not appear when I was there.
Ancestors of the Hopi (Hisatsinom) lived here for thousands of years. Trade brought seeds of corn and other crops into the region. Hisatsinom lifeways changed from nomadic hunting-and-gathering to farming. They began to build multi-storied stone masonry houses clustered in villages in Tsegi/Lenaytupqa (Flute) Canyon, and Nitsin Canyon. Betatakin/Talastima (Place of the Bule Corn Tassels) was home to Deer, Fire, Flute, and Water Clans. Navajo Nation land surrounds the monument's cliff dwellings. The Din'e moved into this area around 1800, and changed from hunting and gathering when the Spanish introduced domesticated animals. Sheepherding became central to their lives. The Din'e have a long tradition of using the area around Navajo National Monument for both sacred and economic purposes.
Mormon Temple in NW Washington DC on a cold and windy Sunday. If you are driving on the outter loop of the beltway, there is a great view of this as you come around Silver Spring towards Bethesda and N. Virginia. Some years ago, some genious grafitti artist spray painted "Surrender Dorothy" on one of the overpasses. It didn't take long for "the powers that be" to obliterate it, but, I smile every time I drive by now.
First of many shots in that location. Jenni is a lady of many talents, playing the violin is just one of them.
Architectural detailing on the HSBC building, 60 Queen Victoria Street, designed by Foggo Associates.
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Sometimes I find it quite amazing to just drive through our province and travel on roads I would otherwise never go on. What I am missing is often quite amazing: there are places in our province that are beyond description. This is such a place, wide open prairie, and an abandoned residence of a farmer or rancherone would think. Yet, there are no outbuildings anyway, and not a tree in sight. Maybe it was used as a school or something? I did not venture too close, just found it quite fascinating.
Driving to the Alberta Windmill Museum in Etzikom this church made me stop. At first I thought it was a farm building of sorts, since the steeple looks very much like a grain elevator. But then, on second look, the appearance of the cemetery in the background convinced me that this was actually a church at some point in time. Interesting architecture.