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captured in the hushed tranquility of an old monastery in palma’s calatrava district, this photograph tells a story of silent passage and timeless grace. the sun pierces through the intricately designed iron gate, scattering light into beams that stretch across the weathered hexagonal tiles, painting the floor with a mesmerizing dance of shadows. a lone figure, silhouetted against the brilliance of the gateway, ascends toward the light.
in this moment, the architecture and light become the storytellers. the patterns on the floor mirror the ornate gate, creating a visual rhythm, while the woman’s presence provides scale and humanity to the austere beauty of the monastery’s design. the space seems to breathe with history, as though echoing whispers from centuries past, yet remains grounded in the present by the figure who steps forward into the light.
the narrow passage felt colder, the walls pale and lifeless, adorned only with the hum of air conditioners clinging to their corners. the late afternoon light slashed through the scene, casting long, deliberate shadows down the damp, uneven stairs. she ran up, focused, her steps quick and sure. her shadow, larger than life, raced ahead, mimicking her movement in a quiet duet with the walls. the puddles below reflected faint glimmers of the world above, while the textures of the city whispered stories of wear and resilience. there was no sound but her rhythm, no moment but this one—just light, shadow, and the climb.
photo rights reserved by Ben
On the way to Shar Mountain National Park, we made a short stop at the Šarena Džamija in Tetovo. The mosque lies in the heart of the city, yet at this moment it feels surprisingly calm — almost as if time itself has briefly stood still. Before the lens unfolds a façade that does not demand attention, but gently draws you in. The richly painted front reveals a refined interplay of ornamentation, floral motifs, and geometric patterns, carefully arranged across two levels. Slender columns support an elegant balcony, while the painted surfaces tell their story layer by layer. Every color, every line feels intentional — restrained, yet full of character. From a distance, the mosque appears almost modest, but up close its true richness slowly reveals itself. There is no massive dome or overwhelming monumentality, only a rare sense of refinement that invites you to linger. The harmony between architecture, painting, and symmetry gives the building an almost human calm. Built in the 15th century and later fully painted, the Šarena Džamija stands as a remarkable example of Islamic architecture. The slender minaret rises along its side, a quiet point of orientation against the blue sky — a beacon of continuity in a city that is constantly in motion. Not a detached monument, but a living part of Tetovo: woven into daily life, shaped by time, and still quietly present.
The Šarena Džamija - Painted Mosque stands in the heart of Tetovo, North Macedonia. The photo shows its richly decorated façade, with colorful patterns, slender columns, and elegant symmetry. Despite its busy urban surroundings, the mosque radiates calm and refinement. A remarkable example of 15th-century Islamic architecture, seamlessly woven into daily city life.
Onderweg naar het Shar Mountain National Park maakten we een korte stop bij de Šarena Džamija in Tetovo. De moskee ligt midden in de stad, maar voelt op dit moment verrassend rustig — bijna alsof de tijd even heeft stilgestaan. Voor de lens ontvouwt zich een façade die niet schreeuwt om aandacht, maar die je vanzelf naar zich toe trekt. De rijk beschilderde voorgevel toont een verfijnd spel van ornamenten, bloemmotieven en geometrische patronen, zorgvuldig verdeeld over twee verdiepingen. De ranke zuilen dragen een elegant balkon, terwijl de beschilderingen laag voor laag hun verhaal vertellen. Elke kleur, elke lijn lijkt bewust gekozen — ingetogen, maar vol karakter. Van een afstand oogt de moskee bijna bescheiden, maar van dichtbij openbaart zich haar ware rijkdom. Geen massieve koepel of overweldigende monumentaliteit, maar een zeldzame verfijning die je uitnodigt om te blijven kijken. De harmonie tussen architectuur, schilderkunst en symmetrie geeft het gebouw een bijna menselijke rust. Gebouwd in de 15e eeuw en later volledig beschilderd, is de Šarena Džamija een uitzonderlijk voorbeeld binnen de islamitische architectuur. De slanke minaret rijst op aan de zijkant, als een stil oriëntatiepunt tegen de blauwe lucht — een baken van continuïteit in een stad die altijd in beweging is. Geen losstaand monument, maar een levend ,onderdeel van Tetovo: verweven met het dagelijks leven.
fluorescent lights hum softly. green dots flicker like distant stars. arrows on the floor point somewhere, but there’s no one left to follow them. the city is right above, yet it feels far away.
in madrid, the streets tell their own stories. here, color cuts through shadow like a defiant streak of life. a construction worker pauses, wrapped in neon, his silhouette carved sharp against the playful panels of yellow, blue, and orange. a man walks by, cane tapping softly, swallowed by shadow but not erased. the city moves, quietly chaotic, the hum of work and the poetry of ordinary people set against a canvas of bold light and darker corners.
vibrant, raw, and layered with contrast—this is madrid in a moment, caught between bright optimism and quiet mystery.
in the winter silence of magaluf, the lively chaos of summer fades into geometric stillness. this hotel, now in its off-season slumber, transforms into a study in symmetry. balconies once brimming with life become a surreal grid of repetition, broken only by the shadows that shift with the sun’s rhythm. it's a reminder of how places breathe differently when left to rest.
Lahore Fort started life as a defensive wall on the banks of River Ravi by the earliest settlers who founded Lahore. It was attacked, damaged, demolished, and rebuilt into various structures several times over, until it acquired its present general form under Emperor Akbar in 1566. Succeeding emperors, Sikh conquerors, and British colonists used the fort as the seat of their governance, and added their architectural influences to the citadel to give it its present configuration.
Alamgiri Gate is the main entrance to the Lahore Fort, and was built in 1674 by Emperor Aurangzeb. It is a massive and imposing entrance that was made to allow the emperor's elephant entourage to pass through it.
For more information on Alamgiri Gate, please see: lahore.city-history.com/places/alamgiri-gate-lahore-fort/
For more detailed information on Lahore Fort, please see: sites.ualberta.ca/~rnoor/lahore_fort.html, and
This image is part of a series to show certainties.
But also, to show the ambiguities of foundational idealogy and tones inside of black and white. This series is not as much about tonality available on the monochromatic palette.
But rather, my friend, the separation of the superfluous from those important things we hold as true, reverent, inspirational,
and essential as guides, exhortation and favor.
This photographic series uses my likeness in different scenes to show, amplify, and witness themes of captivity, deliverance, wilderness, and restoration. Still images captured from places to reflect a narrative of these themes to exhibit completeness and process for ideation, development and implementation for carriage of ideas into a two-dimensional representation of photography as graphic, and graphic as the invitation for art.
In addition, this series will use still images to reveal, unveil, and demonstrate the uncompromising inner-workings, of an inner-life, as work for interpretative viewing, commentary, and collaboration.
Before healing happens, a brokenness must overcome us to pursue every shattered piece made whole, again.
To receive a healing, with greater drive and impetus to experience restoration from what was stolen.
Grey.
in the heart of the hofgarten, where history and elegance whisper through arcades and sunlight draws perfect shapes on ancient walls, a man stands—lost. not in the grandeur around him, not in the poetry of the past, but in the label of his beer bottle. delphi, prophecy, philosophy? none of it matters. right now, the real mystery is in his hands.
hofgarten, munich
Memories of my visit to Bangkok in Thailand.
A vibrant cityscape features a collage of skyscrapers in various shades of red, orange, and purple, with glowing windows suggesting a bustling nightlife. Abstract geometric patterns and lines create a dynamic sense of urban energy and complexity.
Los triángulos. Cientos, miles de piezas de hierro entrelazadas formando algo que ya no era puente sino geometría pura. Cada pieza sosteniendo a las demás en un equilibrio perfecto que nadie mira porque todos miran el río, la ciudad, el panorama. Pero yo miraba esto: el esqueleto dorado, la estructura que sostiene sin pedir nada. La belleza de lo funcional.
(De "Destilando la luz en Oporto" - jmsdbg.com/oporto)
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The triangles. Hundreds, thousands of iron pieces interwoven forming something that was no longer bridge but pure geometry. Each piece holding the others in perfect balance that nobody looks at because everyone looks at the river, the city, the view. But I looked at this: the golden skeleton, the structure that holds without asking for anything. The beauty of the functional.
(From "Distilling Light in Porto" - jmsdbg.com/oporto)
Looking up at this glass facade, I captured how the building fragments and reflects its surroundings. The turquoise sky creates a striking backdrop for the geometric interplay of architectural elements, celebrating the abstract beauty of modern urban design.
Lahore Fort started life as a defensive wall on the banks of River Ravi by the earliest settlers who founded Lahore. It was attacked, damaged, demolished, and rebuilt into various structures several times over, until it acquired its present general form under Emperor Akbar in 1566. Succeeding emperors, Sikh conquerors, and British colonists used the fort as the seat of their governance, and added their architectural influences to the citadel to give it its present configuration.
Diwan-e-Aam was built by Emperor Shah Jehan and was a public gallery where the emperor would interact with his common subjects, and receive their petitions and address their issues.
For more detailed information on Lahore Fort, please see: sites.ualberta.ca/~rnoor/lahore_fort.html, and
in the stillness of an airport terminal, rows of empty seats stretch out like a quiet invitation, leading the eye toward the distant gates. the sleek, reflective floors capture a subtle play of light and shadow, while the ceiling tiles and lines create a rhythmic pattern above. two figures in the background add a sense of movement and purpose, their reflections hinting at stories of departures and arrivals. it's a moment caught between places — a brief pause in the journey, framed by the architecture of transit.
Lahore Fort started life as a defensive wall on the banks of River Ravi by the earliest settlers who founded Lahore. It was attacked, damaged, demolished, and rebuilt into various structures several times over, until it acquired its present general form under Emperor Akbar in 1566. Succeeding emperors, Sikh conquerors, and British colonists used the fort as the seat of their governance, and added their architectural influences to the citadel to give it its present configuration.
Diwan-e-Khass was built by Emperor Shah Jehan and was the equivalent of contemporary cabinet rooms where Mughal Emperors held meetings with their ministers, governors, and other noblemen who helped them rule the empire.
For more detailed information on Lahore Fort, please see: sites.ualberta.ca/~rnoor/lahore_fort.html, and
Grand Room of SAAM; a beautiful, colorful room and full of history. Word’s out there that once, this was the biggest room in America. #art #smithsonian #smithsonianamericanartmuseum #dc #Washington #usa #ceiling #design #paintedglass #stars #geometricpatterns #layers #architecture #hallway# #interiordesign #artgallery# #triangles #octagon #saam #hallway #interiorarchitecture #reflection #symmetry #longexposure #raw_longexposure #geometry #arch #triangle #grandroom #champions
Have a happy Saturday, thank you for your visit :)))
A wall I spotted in our neighbourhood on one of my walks....
Come and join us with your wall shots on a Wednesday.
www.flickr.com/groups/new-wall-wednesday/
Have a great day, everyone!
- Dandelion (Taraxacum officinale) -
A dandelion globe holds a small galaxy of parachutes, each silver filament catching sun as if stitched with sparks; the geometry is tender and precise, a breath away from flight, and the green world blurs behind it while this bright little universe waits for a wish to turn into weather.
photo rights reserved by Ben
On our way to the Shar Mountain National Park, we planned a short stop at Šarena Džamija. The mosque stands right along the busy main road of Tetovo, woven into the fabric of everyday city life. That contrast is what makes the place so special. While cars, buses, and pedestrians pass by continuously, the mosque remains calm and unmoved — modest in form, yet rich in color. For the photograph, this meant patience: waiting for the right moment, until the traffic briefly cleared and the road fell silent for a few seconds, allowing a sense of calm to emerge that doesn’t come naturally here. From the outside, the mosque appears almost understated. No massive dome, no overwhelming grandeur. But as soon as you come closer, every wall reveals itself as a canvas filled with color, patterns, and refined details. Floral motifs, geometric shapes, and symbolic images flow into one another, as if the façade itself is telling a story — layer upon layer, generation after generation. Built in the 15th century and later fully painted, the mosque is a rarity in the Islamic world. Its slender minaret rises straight into the deep blue sky, like a quiet anchor in the landscape. Not an isolated monument in a tranquil setting, but a historic building that has been moving in rhythm with the city for centuries.
A short stop at the Šarena Džamija in Tetovo, North Macedonia, reveals a striking contrast: a calm, vividly painted mosque standing directly along the city’s busy main road. Modest in form but rich in detail, it remains a quiet landmark woven into everyday urban life.
Onderweg naar het Shar Mountain National Park wilden we bij Šarena Džamija even halt houden. De moskee staat midden aan de drukke hoofdweg van Tetovo, ingebed in het dagelijkse stadsleven. Dat contrast maakt de plek extra bijzonder. Terwijl auto’s, bussen en voetgangers voorbijtrekken, staat de moskee er onverstoorbaar bij —bescheiden van vorm, rijk aan kleur. Voor de foto betekende dat geduld: even wachten tot het verkeer precies goed viel, tot de weg een paar seconden leeg was en de rust zichtbaar werd die je hier niet vanzelf krijgt. Van buiten oogt de moskee bijna bescheiden. Geen massieve koepel, geen overweldigende grandeur. Maar zodra je dichterbij komt, zie je hoe elke muur is bedekt met kleur, patronen en verfijnde details. Bloemmotieven, geometrische vormen en symbolische afbeeldingen lopen in elkaar over, alsof de gevel zelf een verhaal vertelt — laag over laag, generatie na generatie. Deze moskee werd gebouwd in de 15e eeuw en later volledig beschilderd, een zeldzaamheid in de islamitische wereld. De slanke minaret rijst recht omhoog tegen de strakblauwe lucht, als een stil ankerpunt in het landschap. Geen geïsoleerd monument in een stille omgeving, maar een historisch gebouw dat al eeuwen meedraait in het ritme van de stad.
Built in the 1880s, "Park Lodge" is a very grand asymmetrical Victorian mansion situated in the finest section of the inner northern Melbourne suburb of Moonee Ponds.
Built of polychromatic bricks, "Park Lodge" has a wonderful verandah and balcony adorned with elegant cast iron lacework. The roof is made of slate tiles with metal capping. The brown and yellow bricks are constructed in a profusion of geometric designs, which even make the wall treatment a great feature. Even the chimney is built of polychromatic bricks. Perhaps its most outstanding features are the distinctive French inspired Second Empire mansard roofed central tower which bears "Park Lodge's" name in a cartouche over the upper floor windows. This feature makes the property stand out for miles around.
Sadly, the original grounds of "Park Lodge" have been lost in the years since it was built, no doubt a victim to the Melbourne property bust of the 1890s. The widening of the road onto which it faces has also encroached upon its boundaries as has the widened railway line. Nevertheless, the current owners have made the most of the space they do have, planting a formal Victorian style garden in keeping with the house's age. It features a range of topiaries and small hedges. The whole garden is enclosed by an ornate wrought iron fence.
Moonee Ponds, like its neighbouring boroughs of Ascot Vale and Essendon, was etablished in the late 1880s and early 1890s. However, unlike its neighbours, it was an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. Built in the most affluent area of Moonee Ponds, this mansion would have suited a large, wealthy Victorian family of some importance and would have required a small retinue of servants to maintain. Today it is still mantained as a private residence.
Badshahi Mosque is a vast structure covering 29,867.2 square meters (321, 488 square feet), and was built under the auspices of the 6th Mughal Emperor Aurangzeb in 1673. The mosque is considered one of the finer examples of Mughal architecture. Although the mosque was pillaged and abused under succeeding Sikh and British empires, the British did establish the Badshahi Mosque Authority to restore the mosque, which was taken over by Pakistan after its independence, and the restoration work was completed in 1960. Badshahi Mosque is a cultural icon of Pakistan, and has served as a location for state functions.
For more detailed information on Badshahi Mosque, see: www.newworldencyclopedia.org/entry/Badshahi_Mosque
For more information on Lahore, see: www.cnn.com/travel/article/pakistan-lahore-mughal-treasur...
Built in the 1880s, "Park Lodge" is a very grand asymmetrical Victorian mansion situated in the finest section of the inner northern Melbourne suburb of Moonee Ponds.
Built of polychromatic bricks, "Park Lodge" has a wonderful verandah and balcony adorned with elegant cast iron lacework. The roof is made of slate tiles with metal capping. The brown and yellow bricks are constructed in a profusion of geometric designs, which even make the wall treatment a great feature. Even the chimney is built of polychromatic bricks. Perhaps its most outstanding features are the distinctive French inspired Second Empire mansard roofed central tower which bears "Park Lodge's" name in a cartouche over the upper floor windows. This feature makes the property stand out for miles around.
Sadly, the original grounds of "Park Lodge" have been lost in the years since it was built, no doubt a victim to the Melbourne property bust of the 1890s. The widening of the road onto which it faces has also encroached upon its boundaries as has the widened railway line. Nevertheless, the current owners have made the most of the space they do have, planting a formal Victorian style garden in keeping with the house's age. It features a range of topiaries and small hedges. The whole garden is enclosed by an ornate wrought iron fence.
Moonee Ponds, like its neighbouring boroughs of Ascot Vale and Essendon, was etablished in the late 1880s and early 1890s. However, unlike its neighbours, it was an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. Built in the most affluent area of Moonee Ponds, this mansion would have suited a large, wealthy Victorian family of some importance and would have required a small retinue of servants to maintain. Today it is still mantained as a private residence.
Built in the 1880s, "Park Lodge" is a very grand asymmetrical Victorian mansion situated in the finest section of the inner northern Melbourne suburb of Moonee Ponds.
Built of polychromatic bricks, "Park Lodge" has a wonderful verandah and balcony adorned with elegant cast iron lacework. The roof is made of slate tiles with metal capping. The brown and yellow bricks are constructed in a profusion of geometric designs, which even make the wall treatment a great feature. Even the chimney is built of polychromatic bricks. Perhaps its most outstanding features are the distinctive French inspired Second Empire mansard roofed central tower which bears "Park Lodge's" name in a cartouche over the upper floor windows. This feature makes the property stand out for miles around.
Sadly, the original grounds of "Park Lodge" have been lost in the years since it was built, no doubt a victim to the Melbourne property bust of the 1890s. The widening of the road onto which it faces has also encroached upon its boundaries as has the widened railway line. Nevertheless, the current owners have made the most of the space they do have, planting a formal Victorian style garden in keeping with the house's age. It features a range of topiaries and small hedges. The whole garden is enclosed by an ornate wrought iron fence.
Moonee Ponds, like its neighbouring boroughs of Ascot Vale and Essendon, was etablished in the late 1880s and early 1890s. However, unlike its neighbours, it was an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. Built in the most affluent area of Moonee Ponds, this mansion would have suited a large, wealthy Victorian family of some importance and would have required a small retinue of servants to maintain. Today it is still mantained as a private residence.
Built in the 1880s, "Park Lodge" is a very grand asymmetrical Victorian mansion situated in the finest section of the inner northern Melbourne suburb of Moonee Ponds.
Built of polychromatic bricks, "Park Lodge" has a wonderful verandah and balcony adorned with elegant cast iron lacework. The roof is made of slate tiles with metal capping. The brown and yellow bricks are constructed in a profusion of geometric designs, which even make the wall treatment a great feature. Even the chimney is built of polychromatic bricks. Perhaps its most outstanding features are the distinctive French inspired Second Empire mansard roofed central tower which bears "Park Lodge's" name in a cartouche over the upper floor windows. This feature makes the property stand out for miles around.
Sadly, the original grounds of "Park Lodge" have been lost in the years since it was built, no doubt a victim to the Melbourne property bust of the 1890s. The widening of the road onto which it faces has also encroached upon its boundaries as has the widened railway line. Nevertheless, the current owners have made the most of the space they do have, planting a formal Victorian style garden in keeping with the house's age. It features a range of topiaries and small hedges. The whole garden is enclosed by an ornate wrought iron fence.
Moonee Ponds, like its neighbouring boroughs of Ascot Vale and Essendon, was etablished in the late 1880s and early 1890s. However, unlike its neighbours, it was an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. Built in the most affluent area of Moonee Ponds, this mansion would have suited a large, wealthy Victorian family of some importance and would have required a small retinue of servants to maintain. Today it is still mantained as a private residence.
Built in the 1880s, "Park Lodge" is a very grand asymmetrical Victorian mansion situated in the finest section of the inner northern Melbourne suburb of Moonee Ponds.
Built of polychromatic bricks, "Park Lodge" has a wonderful verandah and balcony adorned with elegant cast iron lacework. The roof is made of slate tiles with metal capping. The brown and yellow bricks are constructed in a profusion of geometric designs, which even make the wall treatment a great feature. Even the chimney is built of polychromatic bricks. Perhaps its most outstanding features are the distinctive French inspired Second Empire mansard roofed central tower which bears "Park Lodge's" name in a cartouche over the upper floor windows. This feature makes the property stand out for miles around.
Sadly, the original grounds of "Park Lodge" have been lost in the years since it was built, no doubt a victim to the Melbourne property bust of the 1890s. The widening of the road onto which it faces has also encroached upon its boundaries as has the widened railway line. Nevertheless, the current owners have made the most of the space they do have, planting a formal Victorian style garden in keeping with the house's age. It features a range of topiaries and small hedges. The whole garden is enclosed by an ornate wrought iron fence.
Moonee Ponds, like its neighbouring boroughs of Ascot Vale and Essendon, was etablished in the late 1880s and early 1890s. However, unlike its neighbours, it was an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. Built in the most affluent area of Moonee Ponds, this mansion would have suited a large, wealthy Victorian family of some importance and would have required a small retinue of servants to maintain. Today it is still mantained as a private residence.
Lahore Fort started life as a defensive wall on the banks of River Ravi by the earliest settlers who founded Lahore. It was attacked, damaged, demolished, and rebuilt into various structures several times over, until it acquired its present general form under Emperor Akbar in 1566. Succeeding emperors, Sikh conquerors, and British colonists used the fort as the seat of their governance, and added their architectural influences to the citadel to give it its present configuration.
This pavilion was built by Emperor Shah Jehan in 1663, who also built the Taj Mahal in Agra. It is reportedly called Naulakha because it cost 900,000 rupees to build, and the number 900,000 in Urdu language is "Nau Lakh." The Emperor spent time here when he was in Lahore, and was entertained from the large court yard that the structure overlooks.
For more detailed information on the Naulakha, please see: www.dawn.com/news/1195182
For more detailed information on Lahore Fort, please see: sites.ualberta.ca/~rnoor/lahore_fort.html, and
After the Great War (1914 - 1918), higher costs of living and the "servant problem" made living in the grand mansions and villas built in the Victorian and Edwardian eras a far less practical and attractive option for both those looking for new housing, and those who lived in big houses. It was around this time, in answer to these problems, that flats and apartments began to replace some larger houses, and became fashionable to live in.
This very stylish Art Deco block of flats would have suited those of comfortable means who could afford to live in East Melbourne (the suburb in which these flats are located), and dispense with the difficulties of keeping a large retinue of staff.
This block has a wonderful entranceway with geometric Jazz Age designs to either side of the entrance and around the stairwell windows. The stairwell area itself with its stepped roofline has been made an architectural feature as it stands out from the rest of the block's facade. This block of flats is typical of the Art Deco architecture that came out of England after the war. They are as chic today as when they were first built in the 20s or early 30s.
Imagine stepping off a narrow side street and finding yourself face-to-face with this stunning, classic corner of Portugal, most certainly in the historic heart of Porto. This image encapsulates the country’s profound love affair with azulejo tiling, as an entire multi-story building is wrapped in beautiful blue and white ceramic tiles. The patterns are intricate and traditional, primarily geometric and floral, creating a visually rich texture that gives the old building a fresh, almost shimmering facade under the bright sun.
The building itself maintains a sturdy, historic feel, featuring numerous windows and small wrought iron balconies on the upper floors, typical of Portuguese residential architecture from the late 19th or early 20th century. The blue and white coloring—the colors most commonly associated with Portuguese decorative arts—is a deliberate choice that ties the modern streetscape directly to centuries of craft and tradition.
The setting is pure European cobblestone charm. The intersection is paved with rough, irregular stones (calçada), leading the eye into the background where the street narrows into a dimly lit canyon flanked by taller buildings. The contrast is sharp: the bright, tiled façade on the left stands out against the pale, unadorned stone and plaster of the neighboring buildings. The scene is grounded by modern urban elements, including traffic signs (a clear 'Do Not Enter' sign), bollards, and a solitary figure walking quickly away from the intersection, giving a sense of the place being both a historic museum and a living, bustling part of the city. The presence of small shops and ground-floor businesses hints at the commercial activity sustaining this beautiful urban core. This view is a perfect snapshot of urban elegance and historic resilience, capturing the unique texture and light of a Portuguese afternoon.
O Jardim de Santa Bárbara, em Braga, Portugal, é um emblemático espaço verde público classificado como Bem Cultural de Interesse Municipal desde 2018, adjacente à ala medieval do Paço Episcopal Bracarense. Concebido em 1955 por José Cardoso da Silva, o jardim destaca-se pelos canteiros geométricos, com flores sazonais que criam padrões coloridos contrastantes com a arquitetura medieval do paço, cujos muros em granito e ameias são vestígios da antiga fortificação da cidade. No centro, encontra-se uma fonte do século XVII proveniente do antigo Convento dos Remédios, encimada pela estátua de Santa Bárbara, que empresta o nome ao jardim. Este espaço, de organização formal e inspiração renascentista convida à contemplação e ao lazer, articulando o património arquitetónico com a gestão dos espaços verdes urbanos, sendo um ponto de interesse turístico e cultural de destaque.
The Santa Bárbara Garden in Braga, Portugal, is an iconic public green space classified as a Cultural Asset of Municipal Interest since 2018, adjacent to the medieval wing of the Episcopal Palace of Braga. Designed in 1955 by José Cardoso da Silva, the garden stands out for its geometric flower beds, with seasonal flowers that create colorful patterns contrasting with the medieval architecture of the palace, whose granite walls and battlements are remnants of the city's ancient fortifications. In the center is a 17th-century fountain from the former Convento dos Remédios, topped by a statue of Santa Bárbara, after whom the garden is named. This space, with its formal layout and Renaissance inspiration invites contemplation and leisure, linking architectural heritage with the management of urban green spaces, and is a prominent tourist and cultural attraction.
One of the most stunning features of Hearst Castle is the opulent Roman Pool, an indoor swimming pool that looks straight out of a palace from ancient times. This jaw-dropping masterpiece is located beneath the tennis courts and is modeled after the luxurious baths of ancient Rome. Adorned with intricate blue and gold mosaic tiles, the pool is a symbol of wealth and grandeur, capturing the imagination of anyone who visits.
Designed by architect Julia Morgan, the Roman Pool was completed in the mid-1920s and remains one of the most iconic aspects of Hearst Castle today. The small glass and gold tiles (tesserae) are laid out in mesmerizing geometric patterns, with the recurring motif of the ancient Greek key and several depictions of mythological figures, including Neptune and Nereid. The deep blue hue of the tiles combined with the pool’s dramatic lighting creates a surreal and reflective effect, making it seem almost otherworldly. Eight Roman-style statues guard the space, adding to the classical grandeur.
Each corner and detail in the pool was meticulously planned, down to the alabaster lamps that stand elegantly by the pool’s edge, casting a soft glow. The ceiling, though weathered over time, complements the lavishness of the pool with its ornate design.
Visiting Hearst Castle and seeing the Roman Pool is like stepping into a different era, a place where art, architecture, and opulence meet. For architecture buffs and those with a love for history, this pool is not just a swimming area—it's an artistic experience not to be missed.
Lahore Fort started life as a defensive wall on the banks of River Ravi by the earliest settlers who founded Lahore. It was attacked, damaged, demolished, and rebuilt into various structures several times over, until it acquired its present general form under Emperor Akbar in 1566. Succeeding emperors, Sikh conquerors, and British colonists used the fort as the seat of their governance, and added their architectural influences to the citadel to give it its present configuration.
Detail of lattice work, which is made from a single piece of pink Jaipur sandstone.
For more detailed information on Lahore Fort, please see: sites.ualberta.ca/~rnoor/lahore_fort.html, and