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A little tile pattern with the Oculus image as the starter. If you don't like the portrait format feel free to turn your monitor 90 degrees for a landscape perspective, I don't mind. All the best and Happy Slider Sunday! HSS
Explore 22 June 2025, #64!
At blue hour the domes of the Sheikh Zayed Grand Mosque glow softly above the marble courtyard, where light and reflection meet in quiet symmetry. In a turbulent time for the region, may this stillness be a prayer for peace.
EXPLORED ⭐️ March 21, 2026
photo rights reserved by Ben
Inside the Šarena Džamija, the richly painted dome immediately draws the eye. High above, a refined interplay of color, form, and symmetry unfolds. In concentric circles, floral motifs, geometric patterns, and small painted scenes flow into one another, naturally guiding the gaze toward the center. Soft light moves gently along the edges of the dome, enhancing the warm tones of ochre, blue, and red. From the center, the chandelier hangs like a visual anchor, giving the space a sense of balance and calm. Every detail appears carefully placed, with a rhythmic repetition that unifies the whole. The dome forms the visual heart of the mosque and reflects the craftsmanship with which the space was shaped in the 15th century and later richly painted. Despite its richness, the composition never feels overwhelming — instead, it feels harmonious and inviting. A place where history, craftsmanship, and spirituality come together in light and stillness.
The painted dome of the Šarena Džamija in Tetovo, North Macedonia, draws the eye with its rich colors, geometric patterns, and delicate details. Soft light enhances the harmony of the design, revealing a space shaped by craftsmanship and balance since the 15th century.
Binnen in de Šarena Džamija trekt de rijk beschilderde koepel onmiddellijk de aandacht. Hoog boven de ruimte ontvouwt zich een verfijnd samenspel van kleur, vorm en symmetrie. In concentrische cirkels lopen florale motieven, geometrische patronen en kleine geschilderde taferelen in elkaar over, alsof ze de blik vanzelf naar het middelpunt leiden. Het licht valt zacht langs de randen van de koepel en versterkt de warme tinten van oker, blauw en rood. Vanuit het centrum hangt de kroonluchter als een visueel anker naar beneden, waardoor de ruimte een gevoel van balans en rust krijgt. Elk detail lijkt zorgvuldig geplaatst, met een bijna ritmische herhaling die het geheel samenbrengt. De koepel vormt het visuele hart van de moskee en weerspiegelt het vakmanschap waarmee de ruimte in de 15e eeuw werd vormgegeven en later verfijnd beschilderd. Ondanks haar rijkdom voelt de compositie nooit zwaar — eerder harmonieus en uitnodigend. Een plek waar geschiedenis, ambacht en spiritualiteit samenkomen in stilte en licht.
Gatineau, Québec, Canada.
Peinte par l'artiste local José Guénette en 2023, la saisissante murale intitulée In(visible) est située dans le secteur Hull à Gatineau, Québec. {IN}visible traite de la cohabitation urbaine. L'homme dans la rue au centre nous rappelle que l'itinérance fait partie du décor urbain.
La présence de ces personnes dans le paysage urbain est à la fois visible, parce qu'elles vivent dans l'espace public, et invisible aux regards fugaces des passants. Cette fresque vise à sensibiliser à une réalité de la cohabitation urbaine et à l'expérience du vivre ensemble. Le personnage de cette fresque est basé sur une photographie en noir et blanc prise par l'artiste il y a une quinzaine d'années.
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Painted by local artist José Guénette in 2023, the striking mural titled In(visible) is located in the Hull sector of Gatineau, Québec. In(visible) addresses the theme of urban coexistence. The man at the center reminds us that homelessness is a part of the urban landscape.
The presence of these individuals in the cityscape is simultaneously visible, because they live in public spaces, and invisible to the fleeting glances of passersby. This mural aims to raise awareness about a reality of urban coexistence and the experience of living together. The character in this mural is based on a black-and-white photograph taken by the artist about fifteen years ago.
Looking up at this modern building, I was captivated by how the architectural lines created such powerful geometric patterns against the sky. What drew me to this composition was the way these diagonal elements seemed to slice through space, transforming functional architecture into pure visual art.
I chose black and white to strip away any distractions and focus entirely on the interplay of light, shadow, and form. The monochrome treatment emphasizes the sculptural quality of these contemporary facades and creates a timeless quality that transcends the specific building to become something more universal about modern urban design.
What fascinated me was how this perspective transforms our everyday built environment into something almost abstract - where windows become rhythmic patterns, where structural elements create dynamic compositions, and where the functional becomes purely aesthetic. The vertiginous angle adds energy and movement to what could otherwise be static architectural documentation.
My intention was to reveal the hidden artistry in contemporary architecture, showing how modern buildings can be appreciated not just for their function but as sources of visual poetry in our urban landscape.
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...
It was suggested to me that this looked like a horse barn, but the spaces on the side are not really divided into stalls, and I'm puzzled by the large grooves in the concrete foundation. I have to wonder if anyone would go to this kind of expense for just hay storage.
Built in 1836, Passage Jouffroy is one of the most visited covered arcades in Paris. Situated on the Grands Boulevards next to the Passage des Panoramas, it owes its charm to its beautiful iron and glass architecture and its marble paving.
Another shot from the archive, still in La Defense this time another shot of La Pacific. I have to say this was one of my favourite parts of La Defense, an odd building really flat on one side, curved on the other with a gaping hole in the middle leading to a pedestrian walkway - still it captured my imagination.
Technical Details
Fuji XT-1
Fuji 18-135 @ 18mm
F16
30 seconds
ISO 200
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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
This photo showcases a low-angle, looking-up perspective (worm's-eye view) directly underneath the interior stained-glass skylight of the New Mexico State Capitol in Santa Fe.
Key Visual Elements
Radial Composition: The central focal point is a grand, circular stained-glass skylight structured like a massive geometric wheel. Wooden radial spokes extend outward from the center hub to the outer rim.
Color Palette & Light: Sunlight streams through semi-translucent, warm yellow, gold, and off-white glass panels. Small circular accent lights (or bulbs) are positioned symmetrically around the outer rings and inner radial arms, casting a warm golden glow.
Architectural Framing: Surrounding the central stained-glass wheel is a rich dark wood framing, creating a strong circular pattern that emphasizes symmetry and geometric precision.
Symbolism: The layout of the skylight design echoes the Zia sun symbol, a iconic motif in New Mexico design, highlighting native architectural traditions inside the Capitol building.
en.wikipedia.org/wiki/New_Mexico_State_Capitol
The building is one of only eleven state capitols without a dome, and the only circular state capitol in the United States, for which it is commonly known as "the Roundhouse".
New Mexico 2026
Santa Fe Downtown
I just ran across this old shot of a fenced in pier in New Orleans from 2014 and decided to post it for Fence Friday... :)
photo rights reserved by Ben
The monumental entrance to the Gur-e Amir Mausoleum in Samarkand, Uzbekistan, one of the finest examples of Timurid architecture. The mausoleum is best known as the final resting place of Amir Timur (Tamerlane, 1336–1405), the founder of the Timurid Empire. Originally built in the early 15th century for his grandson Muhammad Sultan, it later became the burial place of Timur himself and several members of his dynasty. What immediately caught my attention was the magnificent entrance portal, decorated with intricate blue and turquoise mosaics, geometric patterns and Arabic calligraphy. Particularly impressive are the muqarnas, the elaborate honeycomb-like decorations inside the pointed arch. The two minarets visible behind the entrance add to the monumental appearance of the complex. I always prefer to include a few visitors in my architectural photographs. Their presence makes the scene less static and brings a touch of everyday life to thesecenturies-old monuments. For me, that makes a photograph much more interesting than architecture alone.
Centuries of history at the Gur-e Amir Mausoleum in Samarkand, Uzbekistan, with everyday life passing through.
De monumentale toegangspoort van het Gur-e Amir Mausoleum in Samarkand, Oezbekistan, één van de mooiste voorbeelden van de Timuridische architectuur. Het mausoleum is vooral bekend als de laatste rustplaats van Amir Timur (Timoer Lenk, 1336–1405), de stichter van het Timuridische Rijk. Het werd aan het begin van de 15e eeuw oorspronkelijk gebouwd voor zijn kleinzoon Muhammad Sultan, maar werd later ook de begraafplaats van Timur zelf en verschillende leden van zijn dynastie. Wat mij direct opviel, was de indrukwekkende toegangspoort met haar verfijnde blauwe en turquoise mozaïeken, geometrische patronen en Arabische kalligrafie. Bijzonder zijn de muqarnas, de honingraatachtige versieringen aan de binnenzijde van de spitsboog. De twee minaretten die achter de poort zichtbaar zijn, versterken het monumentale karakter van het complex. Ik zet het liefst een paar bezoekers op mijn architectuurfoto's. Dat maakt het beeld minder statisch en brengt een stukje hedendaags leven tussen al die eeuwenoude monumenten. Voor mij wordt een foto daardoor een stuk interessanter dan wanneer alleen de architectuur te zien is.
photo rights reserved by Ben
Inside the Šarena Džamija, a richly decorated space unfolds where color, form, and symmetry come together. The large chandelier hangs at the center, catching the light as it gently spreads across the painted walls. Floral motifs, geometric patterns, and small landscape scenes fill the interior, giving each wall its own character without disturbing the sense of calm. Balconies and arches divide the space in a natural way, reinforcing the sense of balance. As daylight filters inside, warm tones slowly come to life, revealing details that might otherwise go unnoticed. Everything feels carefully composed, with attention to rhythm and repetition. The mosque was originally built in the 15th century and later received its distinctive painted decoration. Despite its age, the space feels alive and welcoming — a place where history, craftsmanship, and everyday life come together effortlessly.
Inside the Šarena Džamija, light and color shape a calm and balanced interior. Painted walls, gentle patterns, and soft daylight create a sense of harmony throughout the space. Built in the 15th century, the mosque remains a living place where history and daily life quietly come together.
Binnen in de Šarena Džamija ontvouwt zich een rijk gedecoreerde ruimte waarin kleur, vorm en symmetrie samenkomen. De grote kroonluchter hangt centraal en vangt het licht, dat zich zacht verspreidt over debeschilderde wanden. Bloemmotieven, geometrische patronen en kleine landschappen vullen het interieur en geven elke wand een eigen karakter, zonder de rust te verstoren. De balkons en bogen verdelen de ruimte op een natuurlijke manier en versterken het gevoel van evenwicht. Door het binnenvallende daglicht komen de warme tinten langzaam tot leven, waardoor details zichtbaar worden die je bij een snelle blik zou missen. Alles voelt zorgvuldig opgebouwd, met aandacht voor ritme en herhaling. De moskee werd oorspronkelijk gebouwd in de 15e eeuw en kreeg later haar kenmerkende beschilderingen. Ondanks haar leeftijd voelt de ruimte levend en toegankelijk — een plek waar geschiedenis, vakmanschap en dagelijks gebruik moeiteloos samenkomen.
This year the FFF+ Group have decided to have a weekly challenge called “Snap Happy”. A different theme chosen by a member of the group each week, and the image is to be posted on the Monday of the week.
This week the theme, “geometry” was chosen by GG, Greenstone Girl.
When I heard the theme, I was initially at a bit of a loss. Anyone who knows me knows that mathematics is not my strong point. Nevertheless, a challenge is not called a challenge for nothing, and I found that once I tried to look at the world through different “mathematical eyes”, it was much easier than I thought.
Geometry is the part of mathematics that studies the size, shapes, positions and dimensions of things. Squares, circles and triangles are some of the simplest shapes in flat geometry. Cubes, cylinders, cones and spheres are simple shapes in solid geometry. Therefore looking at my full teacup and saucer, I worked out that I had a circle in a circle, in a circle. And my folded napkin was a triangle. And my table had a nice geometric pattern on it. So you see, perhaps geometry can become my cup of tea as an adult, that it wasn’t when I was a teenager!
photo rights reserved by Ben
From the cool shadows of an entrance at the Hazrati Imam Complex in Tashkent, Uzbekistan, the view opens onto the sunlit square and the monumental Hazrati Imam Jome Mosque. The richly carved wooden door and geometric latticework above the entrance form a natural frame around the turquoise dome and slender minaret in the distance. The contrast between the dark passage and the bright square creates a strong sense of depth, almost as if the doorway marks the transition between two different worlds. On the vast open square, several workers appear almost insignificant beside the monumental architecture. A red safety helmet and a small bucket reveal that maintenance work is being carried out, reminding us that even historic and religious monuments require everyday care. The Hazrati Imam Complex, also known as Khast Imam, is the religious heart of Tashkent’s Old City. It developed around the mausoleum of Abu Bakr Kaffal Shashi, a highly respected Islamic scholar who lived in the 10th century. The complex contains several important religious buildings, including the Barak Khan Madrasah, Tillya Sheikh Mosque, Muyi Muborak Madrasah and the large Hazrati Imam Mosque. The present mosque was completed in 2007 and was designed in the traditional architectural style of Central Asia. Its warm brickwork, blue tile decorations, turquoise domes and tall minarets form a striking contrast with the clear sky above Tashkent.
From shadow into sunlight — a richly decorated doorway frames the turquoise dome and minaret of Hazrati Imam, while everyday work continues across the square.
Vanuit de koele schaduw van een ingang van het Hazrati Imam-complex in Tashkent, Oezbekistan, opent zich het uitzicht op het zonovergoten plein en de monumentale Hazrati Imam Jome-moskee. De rijk uitgesneden houten deur en het geometrische vlechtwerk boven de ingang vormen een natuurlijk kader rond de turquoise koepel en slanke minaret in de verte. Het contrast tussen de donkere doorgang en het lichte plein zorgt voor een sterk gevoel van diepte, alsof de deuropening de overgang vormt tussen twee verschillende werelden. Op het enorme plein lijken de enkele arbeiders bijna nietig naast de monumentale architectuur. Een rode veiligheidshelm en een klein emmertje verraden dat er onderhoudswerkzaamheden plaatsvinden. Ze herinneren ons eraan dat ook historische en religieuze monumenten dagelijks onderhoud nodig hebben. Het Hazrati Imam-complex, ook bekend als Khast Imam, vormt het religieuze hart van de oude stad van Tashkent. Het complex ontwikkelde zich rond het mausoleum van Abu Bakr Kaffal Shashi, een zeer gerespecteerde islamitische geleerde uit de 10e eeuw. Het omvat verschillende belangrijke religieuze gebouwen, waaronder de Barak Khan-madrassa, Tillya Sheikh-moskee, Muyi Muborak-madrassa en de grote Hazrati Imam-moskee. De huidige moskee werd voltooid in 2007 en ontworpen in de traditionele bouwstijl van Centraal-Azië. Het warme baksteen, de blauwe tegeldecoraties, turquoise koepels en hoge minaretten vormen een prachtig contrast met de heldere hemel boven Tashkent.
Shoulder Blanket
Navajo (Diné), 1840–1860
Gift of Mrs. Francis I. Proctor, 9501/12
This is a Navajo-woven shoulder blanket (a wearable serape rather than a floor rug — Navajo textiles from this period were made to be worn), dating to the mid-19th century, a time often called the "Classic Period" of Navajo weaving.
Construction and materials, per the museum label: it was woven on an upright loom — a technology the Navajo adopted from Pueblo weavers — using wool from churro sheep, a breed introduced by the Spanish. The dyes are notably international in origin: red and other vibrant colors came from dye sources and trade materials reaching the Southwest from Mexico, Peru, India, and European textile mills, reflecting the long-distance trade networks already threading through the region by the mid-1800s (likely including cochineal and imported raveled cloth or yarns, common sources for the vivid reds of this era).
Design: The blanket features the classic Navajo "Eyedazzler"-adjacent banded composition — horizontal stripes in red, black/indigo, and natural white/cream, overlaid with serrated diamond and terraced triangle motifs stacked in vertical zigzag columns. The layout is symmetrical and rhythmic, built from a limited palette used with high graphic precision, typical of Classic-period weaving before the flood of aniline (chemical) dyes changed the color palette later in the century.
On the artist: As with the pottery, the weaver is not identified — a near-universal condition for Navajo textiles of this era, which were rarely signed and are typically catalogued by weaver's community, period style, and provenance (in this case, the donor, Mrs. Francis I. Proctor) rather than by a named individual.
The weaver herself worked within a tradition already renowned for its precision. Serrated diamonds march in vertical zigzag columns across horizontal bands, each edge stepped with the mathematical exactness that Navajo weaving is famous for — no drawn pattern, no loom guide beyond the weaver's own eye and memory, holding the whole design in her mind as she built it row by row. This is what textile historians call the Classic Period, the decades just before synthetic dyes and railroad-borne commercial yarns began to reshape Navajo weaving in the 1870s and beyond. What survives here is an early moment: bold, saturated, and made entirely from materials that had already traveled the world once before a single thread was strung on the loom.
New Mexico 2026
Santa Fe Museum
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.
A striking, geometric look-up perspective capturing the modern glass-and-steel architectural renaissance along Victoria Street in central London.
On the left, the brilliant sky-reflective panels profile the award-winning Nova Victoria complex (Nova South). Standing directly adjacent is the towering structural grid of Thirty High, a massive 26-story office development meticulously redesigned and modernised out of the historic 1960s Brutalist skeleton of Portland House.
The sheer verticality of these glass facades transforms a central thoroughfare into a dramatic architectural canyon, capturing the fast-paced evolution of Westminster's modern corporate landscape.
A fachada ocidental da Catedral de San Lorenzo, em Génova, Itália, é um exemplo notável da arquitetura de transição românico-gótica. A estrutura apresenta um paramento bicolor em faixas horizontais de mármore branco de Carrara e ardósia preta, simbolizando nobreza e prestígio cívico na arquitetura medieval lígure. Os três portais góticos, edificados no início do século XIII sob influência de mestres franceses, apresentam arquivoltas profundas e colunas polícromas. O tímpano do portal central destaca-se pela sua complexidade iconográfica, retratando o Cristo em Majestade e o martírio de São Lourenço sobre a grelha. A base da fachada é ladeada por leões de pedra, adicionados durante intervenções no século XIX. Esta fachada não apenas é um centro espiritual, mas também um testemunho tangível da prosperidade e influência cultural da antiga República Marítima de Génova.
The western façade of the San Lorenzo Cathedral in Genoa, Italy, is a notable example of Romanesque-Gothic transitional architecture. The structure features a bicolor horizontal striped pattern of Carrara white marble and black slate, symbolizing nobility and civic prestige in medieval Ligurian architecture. The three Gothic portals, built in the early 13th century under French masters' influence, feature deep archivolts and polychrome columns. The central portal's tympanum stands out for its iconographic complexity, depicting Christ in Majesty and the martyrdom of Saint Lawrence on the grill. The façade's base is flanked by stone lions, added during 19th-century interventions. This façade is not only a spiritual center but also a tangible testament to the prosperity and cultural influence of the ancient Maritime Republic of Genoa.
photo rights reserved by Ben
Inside the Kutlug Oko Mausoleum, part of the remarkable Shah-i-Zinda necropolis in Samarkand, Uzbekistan. Dating from the 14th century, this mausoleum is a beautiful example of Timurid-era architecture. What immediately caught my attention was the magnificent golden dome, covered with countless intricate geometric and floral patterns. Particularly impressive are the muqarnas, the honeycomb-like architectural decorations surrounding the dome and filling the pointed niche below. Their three-dimensional shapes, combined with the warm lighting, create a fascinating interplay of light and shadow. Looking upwards, the repeating patterns seem almost endless, eventually drawing the eye towards the small rosette at the centre of the dome. The Shah-i-Zinda complex is part of the UNESCO World Heritage Site of Samarkand – Crossroad of Cultures.
A golden world of geometry, light and shadow — Kutlug Oko Mausoleum, Shah-i-Zinda, Samarkand, Uzbekistan.
Binnen in het Kutlug Oko Mausoleum, onderdeel van de indrukwekkende Shah-i-Zinda-necropolis in Samarkand, Oezbekistan. Dit mausoleum dateert uit de 14e eeuw en is een prachtig voorbeeld van de architectuur uit die periode. Wat mij meteen opviel, was de schitterende gouden koepel, bedekt met ontelbare geometrische en bloemmotieven. Bijzonder indrukwekkend zijn de muqarnas, de honingraatachtige architectonische versieringen rondom de koepel en in de spitsboog eronder. Door hun driedimensionale vormen en de warme verlichting ontstaat een prachtig spel van licht en schaduw. Wanneer je omhoog kijkt, lijken de zich herhalende patronen bijna eindeloos door te lopen. Uiteindelijk wordt je blik vanzelf naar de kleine rozet in het midden van de koepel getrokken. Het Shah-i-Zinda-complex maakt deel uit van het UNESCO-werelderfgoed Samarkand – Crossroad of Cultures.
Window light falls across the tiled walls, examination tables and displayed instruments. The Terezín Memorial was established in 1947 to preserve the site.
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
I was immediately drawn to the repeating diamond pattern on this building facade. Looking up, I positioned my camera to capture just the pattern itself, removing any context that would identify the structure.
Working in black and white helped emphasize the strong contrast between the white panels and the dark shadows they create. I love how the diagonal arrangement creates this sense of movement across the frame, almost like a visual rhythm.
What I find fascinating about architectural photography is finding these moments where function becomes pure form. By focusing tightly on just this section, a practical building element transforms into something more abstract - a study in repetition and light.
The clean, high-contrast look gives it an almost graphic quality, like something designed on paper rather than built in the real world. Sometimes the most interesting architectural photos aren't of the entire building, but of the thoughtful details most people walk right past.
A Mesquita de Namazgah, em Tirana, inaugurada a 10 de outubro de 2024, é a maior dos Balcãs e foi financiada pela Turquia. De matriz otomana clássica, destaca-se na cúpula pela caligrafia árabe dourada, pelos padrões azul-cobalto e pelos vitrais, afirmando-se como novo símbolo da capital albanesa.
The Namazgah Mosque in Tirana, which opened on October 10, 2024, is the largest in the Balkans and was funded by Turkey. Built in the classic Ottoman style, its dome is distinguished by its gilded Arabic calligraphy, cobalt-blue patterns, and stained-glass windows, establishing it as a new symbol of the Albanian capital.
Mais informação:
clicksememorias.vmribeiro.net/2026/10/a-heranca-otomana-n...
Looking east along an interior corridor at The Well in downtown Toronto. Brick and stone façades frame the space beneath a geometric glass canopy, while warm interior lighting contrasts with cool daylight filtering through the angled skylight above.
from above, they become ants in a world they did not design, their orange vests small flames against concrete certainty. yellow cables snake through shadows like veins of possibility, connecting what was to what will be. in this geometry of progress, human hands still matter most. we build cathedrals from steel and glass, but it is the workers who breathe life into our dreams. every structure is a prayer written in sweat and precision.
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 Battle of Vågen was a naval battle between a Dutch merchant and treasure fleet and an English flotilla of warships in August 1665 as part of the Second Anglo-Dutch War. The battle took place in Vågen (meaning "the bay, voe" in Norwegian), the main port area of neutral Bergen, Norway. Due to a delay in orders the Norwegian commanders took the side of the Dutch, contrary to the secret intentions of the King of Norway and Denmark. The battle ended with the defeat of the English fleet, which retreated, much damaged but without losing any ships. The treasure fleet was relieved by the Dutch home fleet seventeen days later.
In photographing this contemporary building, I wanted to isolate and emphasize the sensual curvature of its metallic facade against the dark backdrop. By choosing a low angle and tight framing, my intention was to transform this architectural element into something more abstract and sculptural rather than simply documenting the building as a whole. The black and white treatment was essential to my vision – it strips away the distraction of color and highlights the interplay of light across the panels' surfaces and edges.
I was particularly drawn to the repetitive pattern of the metal panels and how they follow the organic curve of the structure, creating a rhythm of light and shadow. Some panels feature perforations that add subtle texture variations to the otherwise sleek surface. By composing the image with the curve dominating the frame against the deep black background, I aimed to create a sense of scale that feels simultaneously massive and intimate.
This photograph represents my ongoing fascination with how modern architecture can create forms that seem to defy conventional structural expectations – appearing both solid and fluid at the same time. I wanted the viewer to experience the tactile quality of this facade and appreciate the precision engineering behind such seemingly effortless curves.
photo rights reserved by Ben
The Archaeological Park of Stobi is one of the most important archaeological sites in North Macedonia. Once a prosperous Roman city at the crossroads of major trade routes, Stobi flourished between the 1st century BC and the 6th century AD. Today, visitors can explore the remains of basilicas, Roman streets, elegant villas, and some of the finest early Christian mosaics in the Balkans. This photograph shows the beautifully preserved octagonal baptistery of the Episcopal Basilica. The richly decorated 5th-century mosaics, featuring birds, deer, fish, and intricate geometric patterns, symbolize themes of faith, life, and paradise. The marble columns once supported the roof above the baptismal font, where new Christians were baptized over fifteen centuries ago. The conservation of the baptistery and its magnificent mosaics has been supported by the U.S. Ambassadors Fund for Cultural Preservation, helping to preserve one of North Macedonia's most remarkable examples of early Christian art. During our visit, the archaeological park was almost deserted. The peaceful atmosphere made it easy to imagine life in this flourishing city during Late Antiquity. Stobi was undoubtedly one of the highlights of our journey through North Macedonia.
The octagonal baptistery of the Episcopal Basilica in Stobi, surrounded by beautifully preserved 5th-century mosaics depicting animals, birds and symbolic Christian motifs.
Het Archeologisch Park Stobi behoort tot de belangrijkste archeologische vindplaatsen van Noord-Macedonië. Ooit was Stobi een bloeiende Romeinse stad op het kruispunt van belangrijke handelsroutes. De stad beleefde haar hoogtepunt tussen de 1e eeuw v.Chr. en de 6e eeuw n.Chr.. Tegenwoordig zijn nog indrukwekkende resten te bewonderen van basilieken, Romeinse straten, villa's en enkele van de mooiste vroegchristelijke mozaïeken op de Balkan. Op deze foto is het prachtig bewaard gebleven achthoekige baptisterium van de Bisschopsbasiliek te zien. De rijk gedecoreerde mozaïeken uit de 5e eeuw, met afbeeldingen van vogels, herten, vissen en sierlijke geometrische patronen, behoren tot de fraaiste voorbeelden van vroegchristelijke mozaïekkunst in Noord-Macedonië. De marmeren zuilen droegen ooit het dak boven het doopbassin, waar ruim vijftien eeuwen geleden nieuwe christenen werden gedoopt. De restauratie en conservering van het baptisterium en de mozaïeken is mede mogelijk gemaakt door het U.S. Ambassadors Fund for Cultural Preservation, waardoor dit bijzondere erfgoed voor toekomstige generaties behouden blijft. Tijdens ons bezoek was het archeologische park vrijwel verlaten. De rust maakte het gemakkelijk om je voor te stellen hoe levendig deze stad ooit moet zijn geweest. Stobi was zonder twijfel één van de hoogtepunten van onze reis door Noord-Macedonië.
photo rights reserved by Ben
Inside the Šarena Džamija, a richly decorated space unfolds where color, form, and symmetry come together. The large chandelier hangs at the center of the hall, catching the light as it gently spreads across the painted walls. Floral motifs, geometric patterns, and refined decorative elements fill the interior, giving each wall its own rhythm without creating visual noise. The balconies and arches structure the space, creating a sense of balance and order. In the background, a volunteer stands by the window, small in scale compared to the richness of the architecture — a subtle reminder that this place is still in use today. The daylight filtering inside brings the warm tones to life, revealing details that might otherwise go unnoticed. The mosque was originally built in the 15th century and later richly painted. Despite its age, the space feels open and welcoming — a place where history, craftsmanship, and everyday life come together naturally.
Inside the Šarena Džamija, color, light, and symmetry come together in a richly decorated space. The central chandelier, painted walls, and balanced arches create a calm and harmonious atmosphere. Built in the 15th century, the mosque remains a living place where history and daily life meet.
Binnen in de Šarena Džamija ontvouwt zich een rijk gedecoreerde ruimte waarin kleur, vorm en symmetrie samenkomen. De grote kroonluchter hangt centraal in de zaal en vangt het licht, dat zich zacht verspreidt over de beschilderde wanden. Bloemmotieven, geometrische patronen en verfijnde decoraties vullen het interieur en geven elke wand een eigen ritme, zonder dat het onrustig wordt. De balkons enbogen structureren de ruimte en zorgen voor een gevoel van evenwicht en orde. Op de achtergrond staat een vrijwilliger bij het raam, klein in verhouding tot de rijkdom van de architectuur — een subtiele herinnering dat deze plek nog altijd in gebruik is. Het daglicht dat naar binnen valt, brengt de warme kleuren tot leven en legt details bloot die anders gemakkelijk over het hoofd worden gezien. De moskee werd oorspronkelijk gebouwd in de 15e eeuw en later rijk beschilderd. Ondanks haar leeftijd voelt de ruimte open en toegankelijk: een plek waar geschiedenis, vakmanschap en dagelijks leven op een vanzelfsprekende manier samenkomen.
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.