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sometimes a city reveals its true proportions only from the ground. the pavement leads the way. the grid counts its windows. and somewhere between the concrete and the glass, a single figure insists on movement.
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The magnificent Gur-e Amir Mausoleum in Samarkand, Uzbekistan, is one of the most remarkable monuments of the Timurid era. Built in the early 15th century, it became the final resting place of Amir Timur (Tamerlane), the powerful ruler whose empire once stretched across much of Central Asia. What immediately caught my attention was the contrast between the enormous brick entrance, the beautifully decorated minaret and the magnificent turquoise ribbed dome rising above the complex. The impressive entrance portal, known as a pishtaq, has lost much of its original decoration, revealing the warm-coloured brickwork underneath. The tall minaret, covered with intricate geometric patterns and calligraphy, provides a striking contrast. In the foreground, the remains of older structures offer another glimpse into the long history of this remarkable site. To the left stands another monumental gateway, adding depth to the view. I particularly like how the weathered brickwork, the surviving decorative tiles and the archaeological remains come together in one image. They show not only the splendour of Timurid architecture, but also the passage of more than six centuries.
Six centuries of history beneath the turquoise dome of Gur-e Amir, Samarkand, Uzbekistan.
Het indrukwekkende Gur-e Amir Mausoleum in Samarkand, Oezbekistan, behoort tot de belangrijkste monumenten uit de tijd van de Timoeriden. Het mausoleum werd aan het begin van de 15e eeuw gebouwd en werd uiteindelijk de laatste rustplaats van Amir Timur (Timoer Lenk), de machtige heerser die een groot deel van Centraal-Azië veroverde. Wat mij hier vooral opviel, was het contrast tussen de enorme bakstenen toegangspoort, de rijk versierde minaret en de prachtige turquoise koepel die boven het complex uitsteekt. De monumentale toegangspoort, een zogenaamde pishtaq, heeft veel van haar oorspronkelijke versiering verloren. Daardoor is het warme, eeuwenoude metselwerk goed zichtbaar. De hoge minaret, met zijn geometrische patronen en kalligrafie, vormt daarmee een prachtig contrast. Op de voorgrond zijn nog resten van vroegere bouwwerken te zien. Ook de monumentale poort links draagt bij aan het historische karakter van deze plek. Wat ik mooi vind aan dit overzicht, is dat niet alleen de pracht van de architectuur zichtbaar is, maar ook de sporen die de eeuwen hebben achtergelaten.
Millennium Bridge, London, UK
Spanning the River Thames, the Millennium Bridge is a pedestrian crossing that connects St. Paul’s Cathedral with Tate Modern.
It was the winning design of a collaboration between Arup Group, Foster + Partners, and sculptor Anthony Caro.
Eye-catching triple-spiral interior dome of a contemporary mosque located in Istanbul, Turkey, which I visited recently over the New Year break.
Location: Istanbul / 伊斯坦堡
Thank you for your interest, views, faves, comments and awards ! This image was captured in Turkey 土耳其. (Better viewed on a larger screen.)
© This Image is under full copyright Rick C. Graham. © All rights reserved Rick C. Graham. © This image is subject to international copyright laws and may not be copied, downloaded, reproduced, transferred or manipulated without the express written permission of Rick C. Graham.
Framing of a mysterious gate decorated with geometric patterns.
Gates can mean different things depending on how you look at them.
A gate can represent a threshold or a boundary between two states of being or two different worlds.
Beyond architectural aspect; doors, gates, arches all represent transitioning from one place to another.
photo rights reserved by Ben
The imposing Amir Timur Monument stands proudly in the heart of Amir Timur Square, one of the most important public spaces in Tashkent, Uzbekistan. The bronze equestrian statue honors the 14th-century conqueror and statesman Amir Timur (Tamerlane), whose empire once stretched from the Mediterranean to India. After Uzbekistan gained independence in 1991, Timur became a powerful symbol of the nation's history and identity. The monument and the surrounding square were inaugurated in 1993. Rising behind the statue is the iconic Hotel Uzbekistan, completed in 1974. Designed in the distinctive style of Soviet modernist architecture, its elegant curved façade is covered with hundreds of geometric concrete balcony screens inspired by traditional Central Asian patterns. For decades, the hotel has remained one of Tashkent's most recognizable landmarks. Together, the monument and the hotel beautifully illustrate two defining periods in Uzbekistan's history: the legacy of Amir Timur, the country's celebrated national hero, and the Soviet era that shaped much of modern Tashkent. Bathed in the warm light of late afternoon and surrounded by autumn colours, the scene captures both the historical depth and the contemporary character of Uzbekistan's vibrant capital.
The Amir Timur Monument with the iconic Hotel Uzbekistan in the background—two of Tashkent's best-known landmarks, representing centuries of history in a single view.
Het indrukwekkende standbeeld van Amir Timur domineert het centrale Amir Timurplein, een van de belangrijkste pleinen van Tasjkent, Oezbekistan. Het bronzen ruiterstandbeeld eert de 14e-eeuwse veldheer en staatsman Amir Timur (Timoer Lenk), die een rijk opbouwde dat zich uitstrekte van de Middellandse Zee tot diep in Centraal-Azië en India. Na de onafhankelijkheid van Oezbekistan in 1991 groeide Amir Timur uit tot hét nationale symbool van de rijke geschiedenis van het land. Het monument en het plein werden in 1993 officieel geopend. Op de achtergrond verrijst het iconische Hotel Uzbekistan, voltooid in 1974. Het hotel is een van de bekendste voorbeelden van Sovjet-modernistische architectuur in Centraal-Azië. De karakteristieke gebogen gevel, voorzien van honderden geometrische betonnen balkonconstructies die zijn geïnspireerd op traditionele Centraal-Aziatische patronen, beschermt het gebouw tegen de felle zomerzon en maakt het al meer dan vijftig jaar tot een herkenningspunt van Tasjkent. Samen vertellen het monument en het hotel het verhaal van twee belangrijke tijdperken uit de geschiedenis van Oezbekistan: het erfgoed van Amir Timur, de nationale held van het land, en de Sovjetperiode, die een blijvende invloed heeft gehad op het moderne Tasjkent. Gevuld met warm namiddaglicht en omringd door herfstkleuren laat deze foto zien hoe geschiedenis en hedendaagse architectuur hier op een bijzondere manier samenkomen.
An "It Girl" is a young woman who possesses an undefinable, magnetic charm—the "It"—that makes her incredibly popular, stylish, and influential, often drawing intense media attention regardless of specific achievements. The original It Girl was silent film star Clara Bow in the 1920s, with the term coined by author Elinor Glyn to describe irresistible charisma of her character in her book "It" which wads then made into the film starring Clara Bow.
This "It Girl" arrived at my home yesterday. She is a beautiful German half-doll with jet black hair, and even a coquettish black beauty spot on her greamy white cheek. Most half-dolls feature the upper half of a young woman, but in the 1920s, ones featuring just the girl's head and neck were also created. This beautifully painted German example is modish (for the 1920s) with her bobbed and Marcel waved black tresses framing her peaches and cream face, and large bulbous red droplet earrings. When she arrived, she charmed me with her silent film starlet elegance The shade of her jewellery and cupid's bow applied lipstick perfectly matches some of the shapes that make up the geometric pattern of the Art Deco fabric that I have set her upon. The fabric also features stars in the pattern. It rather reminded me of the carpets you find in most cinemas these days. The lady's Jazz Age Art Deco scarf is a piece of vintage embroidered ribbon from the 1920s from my collection of haberdashery and notions that I keep for photography.
The "half-doll" is a dainty porcelain or bisque figurine, fashionable in the early Twentieth Century with an upper body, head, arms, but usually no legs. These dolls were produced in the thousands at the height of their popularity by German factories such as Dressel and Kister, Heubach, Goebel and Kestner. Later they were produced in France, America and later still, in Japan. They commonly served as handles and toppers for fabric covers made for powder boxes on ladies’ dressing tables and small brushes, however they were also made for jewellery boxes, pincushions, tea cosies and other covers. In this case, my German half-doll I imagine would have been made as a pincushion (I have seen several of her like before) or for a lady’s boudoir, and if so, was most likely the topper for a powder bowl or even a powder puff. She has been hand painted.
As blustery afternoon winds try their best to dislodge reluctant milkweed seeds from the security of their pod, exquisite geometric patterns are formed--almost like a ghostly white flower.
photo rights reserved by Ben
The magnificent Gur-e Amir Mausoleum in Samarkand, Uzbekistan, one of the finest examples of Timurid architecture in Central Asia and the final resting place of Amir Timur (Tamerlane, 1336–1405), the founder of the Timurid Empire. Built in the early 15th century, the mausoleum is particularly famous for its enormous turquoise ribbed dome, decorated with intricate geometric patterns. The two slender minarets, richly ornamented with blue and turquoise tiles, beautifully frame the monumental building. The façade itself is decorated with elaborate mosaics, Arabic calligraphy and pointed arches, reflecting the extraordinary craftsmanship of the Timurid period. What makes this particular view interesting is the historic burial ground in the foreground. The old brick walls and low grave structures create a natural connection between the mausoleum and its surroundings, reminding us that this is not merely an architectural masterpiece but also a place of burial and remembrance. When photographing such a famous monument, it is not always easy to avoid the crowds of visitors. Rather than choosing the usual frontal view, I deliberately looked for a different perspective. The old brick wall provided the perfect solution, concealing the tourists taking selfies in front of the mausoleum, while adding depth and an interesting foreground to the composition. I also preferred this slightly different angle because the large, relatively plain recessed arches of the façade become less dominant. Instead, the magnificent turquoise dome immediately attracts attention, beautifully framed by the two minarets. The warm sunlight brings out the earthy colours of the ancient brickwork, while the blue and turquoise decorations provide a striking contrast. What I particularly like is the peaceful atmosphere, something that can be surprisingly difficult to capture at such a popular historic site. Sometimes photography is not only about what you include in the frame, but also about what you deliberately leave out. The Gur-e Amir Mausoleum forms part of the UNESCO World Heritage Site of Samarkand – Crossroad of Cultures.
Beyond the old walls, the timeless beauty of Gur-e Amir — Samarkand, Uzbekistan.
Het indrukwekkende Gur-e Amir-mausoleum in Samarkand, Oezbekistan, één van de mooiste voorbeelden van de Timuridische architectuur in Centraal-Azië en de laatste rustplaats van Amir Timur (Timoer Lenk, 1336–1405), de stichter van het Timuridische Rijk. Het mausoleum werd aan het begin van de 15e eeuw gebouwd en is vooral beroemd vanwege zijn enorme turquoise, geribbelde koepel, versierd met verfijnde geometrische patronen. De twee slanke minaretten, rijkelijk gedecoreerd met blauwe en turquoise tegels, vormen een prachtige omlijsting van het monumentale gebouw. Ook de gevel is bijzonder rijk versierd met mozaïeken, Arabische kalligrafie en spitsbogen, die getuigen van het uitzonderlijke vakmanschap uit de tijd van de Timoeriden. Wat dit standpunt voor mij bijzonder maakt, is de historische begraafplaats op de voorgrond. De oude bakstenen muren en lage grafstructuren vormen een natuurlijke verbinding met het mausoleum en herinneren eraan dat dit niet alleen een architectonisch meesterwerk is, maar ook een plaats waar mensen begraven liggen en worden herdacht. Bij het fotograferen van zo'n beroemd monument is het niet altijd eenvoudig om de vele bezoekers buiten beeld te houden. In plaats van de gebruikelijke frontale opname koos ik daarom bewust voor een ander standpunt. De oude bakstenen muur bood een perfecte oplossing: de toeristen die voor het mausoleum selfies maakten, verdwenen achter de muur. Tegelijkertijd kreeg de foto hierdoor meer diepte en een interessante voorgrond. Ook vond ik dit standpunt aantrekkelijker omdat de grote, vrij lege spitsboognissen in de gevel minder nadrukkelijk aanwezig zijn. De prachtige turquoise koepel trekt nu onmiddellijk de aandacht, mooi omlijst door de twee minaretten. Het warme zonlicht benadrukt de aardetinten van het oude metselwerk, terwijl de blauwe en turquoise versieringen voor een schitterend contrast zorgen. Wat mij vooral aanspreekt, is de rustige uitstraling van de foto, iets wat op zo'n drukbezochte historische locatie niet vanzelfsprekend is. Soms gaat fotografie niet alleen om wat je in beeld brengt, maar juist ook om wat je bewust weglaat. Het Gur-e Amir-mausoleum maakt deel uit van het UNESCO-werelderfgoed Samarkand – Crossroad of Cultures.
within the striking architecture of the oculus in new york city, a lone figure walks through the interplay of light and shadow on the tiled floor, caught between worlds of clarity and mystery. the sharp lines and dramatic contrast of the space create a delicate balance — a dance between presence and absence, reality and abstraction. as she moves forward, her silhouette merges with the dark shadows, suggesting both purpose and anonymity. the soft transitions of light invite the viewer to ponder: is she stepping into the light or fading into the darkness? a moment of introspection and hidden stories unfolding in one of the city's most iconic spaces.
photo rights reserved by Ben
A quiet moment inside the magnificent Shah-i-Zinda necropolis in Samarkand, Uzbekistan. In this part of the complex, several historic monuments stand close together, including the Tuman-Aka Mosque, Noma’lum Maqbara No. 2 and the Khoja Ahmad Mausoleum.
What makes Shah-i-Zinda so fascinating is the contrast between the relatively simple warm brick architecture and the extraordinarily rich turquoise and blue tilework. Each building has its own character, yet together they form an architectural ensemble that developed over several centuries. The two visitors walking beneath the monumental façades give a sense of scale and, for me, add a small moment of everyday life to this remarkable historic setting.
Tuman-Aka Mosque, Noma’lum Maqbara No. 2 and Khoja Ahmad Mausoleum — Shah-i-Zinda, Samarkand, Uzbekistan.
Een rustig moment in de indrukwekkende Shah-i-Zinda necropolis in Samarkand, Oezbekistan. In dit deel van het complex staan verschillende historische monumenten dicht bij elkaar, waaronder de Tuman-Aka Mosque, Noma’lum Maqbara No. 2 en het Khoja Ahmad Mausoleum. Wat ik zo bijzonder vind aan Shah-i-Zinda is het contrast tussen de relatief eenvoudige warme baksteen en het bijzonder rijke turquoise en blauwe tegelwerk. Elk gebouw heeft zijn eigen karakter, maar samen vormen ze een architectonisch geheel dat zich in de loop van verschillende eeuwen heeft ontwikkeld. De twee bezoekers die langs de monumentale gevels lopen, geven mooi de schaal van de gebouwen aan en voegen voor mij tegelijkertijd een klein stukje dagelijks leven toe aan deze bijzondere historische omgeving.
The Steintor U-Bahn station in Hanover features a distinctive architectural design created by the Milanese designer Alessandro Mendini in 1997. This station is known for its bold black and yellow checkerboard pattern, which creates a striking visual impact. Mendini's design consists of two narrow, identical structures facing each other, with a passage opening in the middle. The roofs are topped with yellow pointed hats, further adding to the unique appearance of the station (Source: regiopia.de + + + regiopia.com).
At the MACA in Alicante, a faceted cube sculpture made of smaller blocks sits on a plinth, each facet painted with nested squares in black, white, teal and yellow to create a bold op-art pattern. The cubes are arranged to leave deep recesses between them, and the interplay of real shadow and painted trompe-l’œil frames makes the depth genuinely hard to read at first glance – until you notice the soft reflections on the gallery wall behind.
Many thanks to all who take the time to comment or favourite. I read every comment, value the favourites as much and return them as frequently as time allows.
Featured in Explore 20th October 2026 (nº 108).
[ES] En el MACA de Alicante, una escultura de cubo facetado, formada por bloques más pequeños, descansa sobre un pedestal; cada faceta está pintada con cuadrados anidados en negro, blanco, verde azulado y amarillo que crean un llamativo patrón op-art. La disposición de los cubos deja profundos huecos entre ellos, y la interacción entre la sombra real y los marcos pintados en trampantojo hace que la profundidad resulte realmente difícil de interpretar a primera vista – hasta que uno se fija en los suaves reflejos de la pared de la sala al fondo.
Muchas gracias a todos los que se toman el tiempo de comentar o marcar como favorito. Leo cada comentario, valoro los favoritos por igual y los devuelvo tan a menudo como me lo permite el tiempo.
The flowing lines of the balconies create an almost abstract visual rhythm, where repetition, geometry and subtle traces of everyday life come together. Red-orange awnings and evening reflections add warmth to this contemporary urban façade.
Les lignes ondulantes des balcons créent un rythme visuel presque abstrait, où répétition, géométrie et variations du quotidien se mêlent. Les stores rouge-orangé et les reflets de fin de journée apportent une touche de chaleur à cette façade urbaine contemporaine.
I moved closer until the building itself faded away, leaving only its essence—that repetition of lines rising toward a point the eye never quite reaches. I sought silence in the vertigo, that strange sensation of losing a sense of scale by staring too long at a pattern that seems to have neither beginning nor end. There was something almost meditative about standing there, my head tilted back, letting the structure dictate the rhythm of my gaze rather than the other way around. What I’m photographing here isn’t really a facade anymore; it’s a mineral breath, frozen between two beats. Taken during a visit to Geneva, at a moment when I was seeking less to document a place than to lose myself in a geometry that owed me nothing—an almost contemplative pause at the foot of an architecture designed to impress, which I preferred to disarm.
photo rights reserved by Ben
Inside the Hazrati Imam Complex in Tashkent, Uzbekistan, an elaborately decorated blue dome rises above one of the most treasured manuscripts of the Islamic world: the Uthman Quran. The ancient manuscript is traditionally associated with Caliph Uthman, the third caliph of Islam, who ruled from 644 to 656. Although tradition dates the Quran to the 7th century, its precise age and history remain subjects of scholarly discussion. Today the manuscript is carefully preserved and displayed beneath a protective covering. Above it, intricate geometric patterns, Arabic calligraphy and delicate muqarnas decoration transform the room into an impressive setting. In 2000, the historic Mushaf of Uthman was inscribed on UNESCO’s Memory of the World Register, recognizing its exceptional documentary and cultural significance.
Standing beneath the magnificent blue dome, the small human figure gives a sense of scale to a room built around centuries of history and faith, while the ancient Quran itself lies protected in a glass display case beneath the embroidered cloth.
Binnen in het Hazrati Imam Complex in Tasjkent, Oezbekistan bevindt zich onder een rijkversierde blauwe koepel één van de beroemdste oude koranhandschriften ter wereld: de Uthman Koran. Volgens de overlevering is het manuscript verbonden met kalief Uthman, de derde kalief van de islam, die regeerde van 644 tot 656. Traditioneel wordt de Koran in de 7e eeuw geplaatst, hoewel over de precieze ouderdom en geschiedenis onder wetenschappers discussie bestaat. Het eeuwenoude manuscript wordt tegenwoordig zorgvuldig beschermd en tentoongesteld. Daarboven vormen geometrische patronen, Arabische kalligrafie en verfijnde muqarnas-decoraties een indrukwekkend geheel. Onder de indrukwekkende blauwe koepel geeft de kleine menselijke figuur een mooi gevoel voor de enorme schaal van deze historische ruimte, terwijl de eeuwenoude Koran zelf beschermd in een glazen vitrine onder het geborduurde kleed ligt. In 2000 werd de historische Mushaf van Uthman opgenomen in UNESCO’s Memory of the World Register, als erkenning van de uitzonderlijke documentaire en culturele betekenis van het manuscript.
Accidently I found out Midjourney speaks Dutch, my mother tongue. To test it I prompted the lines from "Het Dorp" a most conservative, nostalgic Dutch song, that make up for a second national anthem for Dutch boomers.
I didn't tell MJ that the village in the song is a Dutch village and the generated images bear references to villages world wide. Next to the Netherlands I see visual cues for UK, Spain, Italy, Central Africa.
Also interesting is, that, hoewever MJ understands Dutch, it has the tendency to visualize words in English: Town Hall, Butcher J. van der Ven.
the star found her. or she found the star. in palma's wet streets, the universe arranges itself for those who walk with purpose. striped legs, winter wool, and a reflection that holds more sky than the sky itself.
An abstract architectural study of No.1 London Bridge, captured from an unusual low-angle perspective in the heart of London.
These elongated glasses - with geometric designs loaded with symbolism such as rungs, circles, trophy heads, stars, chevrons, wavy lines, chakanas and other geometric lines that refer to mountains and water - were used in rituals where toasts with chicha or other sacred liquids were toasted. During these ceremonies, social bonds and commitments were established.
the evening sun hung low in the city of arts and sciences, casting long shadows over the polished tiles of valencia. the cyclists came silently, their wheels gliding through light and shadow, their outlines stretching far behind them. the modern arches and geometric lines framed the scene, the architecture as much a part of the moment as the figures in motion. the sun, piercing through the skyline, broke into a starburst, bathing the world in sharp contrasts. there was no sound but the hum of tires and the whisper of a fading day. it was a fleeting moment—of rhythm, reflection, and the quiet poetry of movement.
Jim Lambie’s Zobop (Colour-Chrome) (2019) covers the Vancouver Art Gallery’s Rotunda stairs and floor with vinyl tape arranged in concentric patterns that follow the architecture. The exhibition opened on October 22, 2025.
At sunset, light reveals shapes and volumes. The houses rise like a silent barrier against the swelling evening sea, which crashes powerfully against the rocks. A frontline where form resists the relentless force of the sea..
Les escaliers exxtérieurs du bâtiment X4 du campus de la Plaine de la VUB à Ixelles dessinent une succession de lignes, de diagonales et de motifs métalliques qui se détachent sur un ciel nuageux. Photographiée en contre-plongée, cette composition met en valeur la géométrie répétitive et le caractère graphique de l'architecture contemporaine des logements étudiants.
The external stairways of the X4 building on the VUB La Plaine campus in Ixelles create a striking sequence of lines, diagonals and metallic patterns against a cloudy sky. Captured from a low-angle perspective, the image emphasizes the repetitive geometry and graphic appeal of contemporary student housing architecture.