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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 vestÃgios 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 turÃstico 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.
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
Every year, I take a few shots of our Lantana blooms because it's hard not to. This is probably my favorite one so far... :)
A good weekend to you!
A close-up view of Fish and Sea Sculpture by Salah Abdel Karim, photographed at the Bibliotheca Alexandrina in Alexandria, Egypt. Interconnected metal forms, intricate black ironwork, circular patterns, and golden fish-inspired details reveal the complexity of this sculptural installation.
Part of my architectural and cultural photography collection documenting art, design, and cultural spaces in Egypt.
he sits where light fractures into patterns, where shadow becomes architecture. the hat shields more than his face - it holds the weight of thoughts we cannot see. concrete steps become a throne for contemplation, each line of light a question mark across his silence. in this intersection of elegance and emptiness, he writes poetry with his stillness. sometimes the most profound conversations are the ones we have with ourselves.
captured at madrid’s mercado barceló, where the mirrored surfaces of the escalators reflect the rhythm of urban life. the delivery rider, pausing with his phone, seems caught between movement and stillness, a brief moment of pause amid the constant flow. the cool tones and stark reflections create a cityscape that feels both intimate and infinite, where every step is mirrored by another.
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
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
- 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.
IMG_20260402_104657_DSC_1939-2
en.wikipedia.org/wiki/Ginza_Station
You can buy some of my photos here:
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.
A true manifesto of childhood trust, team spirit, and pure, unadulterated joy. A young boy in a blue suit is frozen in time at the center of a massive, sprawling web of fiery orange yarn, looking like a brave astronaut floating weightlessly in a distant galaxy. The faces of the children and adults surrounding him are filled with deep focus and genuine delight. This frame perfectly captures a moment of absolute serenity and safety, serving as a powerful reminder of how vital it is to feel the warmth and support of those around you.
This mesmerizing pattern is woven during a unique interactive experience known as a wool teambuilding activity. Standing in a large circle, participants enthusiastically toss balls of vibrant yarn across to one another while holding onto the ends of the threads. Intersecting hundreds of times, the flight paths of the yarn form a dense, highly elastic net-trampoline. The culmination of this collective creativity comes when the entire team uses synchronized effort to lift and hold one of their members aloft, visually proving that together they can build a secure and unwavering foundation for everyone.
Photo ID: FUJI5581RWJ
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.
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...
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.
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.
photo rights reserved by Ben
The magnificent Gur-e Amir Mausoleum in Samarkand, Uzbekistan, is one of the finest examples of Timurid architecture in Central Asia. Built in the early 15th century, the mausoleum is best known as the final resting place of Amir Timur (Tamerlane), the powerful conqueror who made Samarkand the capital of his vast empire. Its enormous ribbed turquoise dome, decorated with intricate glazed tiles, rises above richly ornamented walls covered in geometric patterns and Islamic calligraphy. The contrast with the weathered brick structures beside it is particularly fascinating, revealing different layers of the monument's long history. What I especially like about this scene is the combination of monumental architecture and everyday life. Two men sit quietly in the shade of the ancient walls, while visitors wander past colourful stalls selling traditional souvenirs. For me, these small human details are just as important as the magnificent architecture. They give the photograph a sense of scale and remind us that even the grandest historical monuments remain part of everyday life.
Centuries of history, magnificent architecture and a few quiet moments of everyday life — Gur-e Amir, Samarkand, Uzbekistan.
Het mausoleum werd aan het begin van de 15e eeuw gebouwd en is vooral bekend als de laatste rustplaats van Amir Timur (Tamerlane), de machtige veroveraar die Samarkand tot hoofdstad van zijn uitgestrekte rijk maakte. De enorme, geribbelde turquoise koepel, versierd met schitterende geglazuurde tegels, torent hoog boven de rijk gedecoreerde gevels uit. De muren zijn bedekt met ingewikkelde geometrische patronen en islamitische kalligrafie. Bijzonder fascinerend vind ik het contrast met de verweerde bakstenen bouwwerken ernaast. Ze laten verschillende lagen van de lange geschiedenis van dit monument zien. Wat mij vooral aanspreekt in deze foto, is de combinatie van monumentale architectuur en het dagelijks leven. Twee mannen zitten rustig bij de eeuwenoude muren, terwijl bezoekers langs kleurrijke kraampjes met traditionele souvenirs wandelen. Voor mij zijn juist deze kleine menselijke details minstens zo belangrijk als de indrukwekkende architectuur. Ze geven de foto niet alleen schaal en levendigheid, maar laten ook zien dat zelfs de beroemdste historische monumenten nog altijd deel uitmaken van hetdagelijks leven.
Light from Within by Rodney LaTourelle and Louise Witthöft, installed above the escalators at Eglinton Station on the Eglinton Crosstown LRT. The 13-ton mirrored glass artwork draws inspiration from minerals and crystals, reflecting light and movement as riders descend into the deepest station on the line.
More on our blog: www.agreatcapture.com/blog/2026/2/8/eglinton-crosstown-op...
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.
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.
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!
This is a classic example of Puebloan polychrome pottery, characteristic of Western Pueblo pottery traditions such as Acoma, Laguna, or Zuni.
Shape & Structure: It is a large, globular jar or olla with a rounded body, a tapered rim, and a defined base painted in solid red/terracotta.
Design & Patterning: The main body features complex, high-contrast geometric motifs in dark black paint over a white slip background. The central pattern is composed of interlocking curved, lens-shaped segments (vesica piscis/petal forms) and triangular designs that form a star-like or diamond motif.
Border Work: A distinct decorative band encircles the upper shoulder near the rim, featuring alternating triangular and diagonal line patterns framed by horizontal borders. Fine horizontal framing lines also separate the main body pattern from the red base.
Museum Display Lighting: Under the museum showcase lighting, dynamic blue and warm yellow-orange spotlights highlight the contours and curved for
Claude AI
Rounded like the horizon itself, this hand-coiled olla carries forward centuries of Pueblo pottery tradition — a lineage of clay, water, and fire passed from potter to potter, generation to generation, without the aid of a wheel. Every curve of its full, generous body was built by hand, coil by coil, and smoothed to a shell-thin wall before being covered edge to edge in a dense field of fine-line geometry.
The design is a study in precision and rhythm: interlocking triangles fan outward like feathers or rain, while sweeping arcs cross to form eight-pointed stars at the vessel's widest reach. In Pueblo pottery, geometric patterns like these are rarely just decoration — they often carry references to the natural world: clouds, lightning, migration paths, or the cardinal directions that orient a community to the land and sky around it. The tight, disciplined linework seen here reflects a style closely associated with Acoma Pueblo, whose potters are renowned worldwide for producing some of the thinnest-walled, most intricately painted pottery in the Southwest — a technical and artistic achievement built entirely by hand and eye, without rulers or stencils.
New Mexico 2026
Santa Fe Museum
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.
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
Whilst wandering around Greenwich, I was drawn to the wonderful afternoon sunlight streaming through the colonnade of the Old Royal Naval College, casting long, angular shadows across the stone floor.
The repeating columns, warm light and strong geometric patterns were interesting enough in themselves, but I particularly liked the moment when I spotted someone photographing a woman walking towards them.
There's something rather pleasing about capturing someone else making a photograph, especially against such a magnificent architectural backdrop.
Taken using my OM SYSTEM OM-3 and the OM SYSTEM M.Zuiko 12-40mm f/2.8 PRO II. Developed from RAW using DxO PhotoLab 9, with additional processing in DxO Nik Collection
Copyright © Dave Sexton. All Rights Reserved.
This image and the associated Flickr photostream are protected by international copyright laws and agreements. No part of this image, or any content within the photostream, may be reproduced, stored in a retrieval system, or transmitted in any form or by any means—electronic, mechanical, photocopying, recording, or otherwise—without the prior written permission of the copyright owner.
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 :)))
Light and shadow reveal the rhythm of the Renaissance sgraffito façade of Hipolit House.
📌 Hipolit House (Kamienica Hipolitów), Kraków, Poland
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Tagliata dalla luce
Luce e ombra rivelano il ritmo della facciata rinascimentale a sgraffito di Casa Hipolit.
📌 Casa Hipolit (Kamienica Hipolitów), Cracovia, Polonia
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