A ponte pedonal Pedro e Inês, inaugurada em 2006, é uma infraestrutura projetada por António Adão da Fonseca e Cecil Balmond, inserida no programa de requalificação urbana Polis. Com um passadiço de madeira e guardas em vidro laminado com formas geométricas em quatro cores — amarelo, azul, verde e rosa —, a ponte filtra a luz solar, oferecendo uma perspetiva fragmentada da cidade de Coimbra e do curso do rio Mondego. Esta travessia facilita a mobilidade entre as margens do Parque Verde do Mondego, ligando com segurança os percursos pedonais e cicláveis. O design inovador cria uma ilusão de desencontro entre as margens, convergindo numa praça suspensa sobre a água. É através dos painéis coloridos que se observa a margem arborizada e a colina da Alta, onde se localiza a Universidade de Coimbra, patrimônio mundial da UNESCO. Assim, a ponte simboliza a conexão entre o passado histórico da cidade e a sua modernidade, sendo um espaço de encontro apreciado por residentes e turistas, que disfrutam de vistas panorâmicas e do ambiente envolvente.

The Pedro and Inês pedestrian bridge, inaugurated in 2006, is an infrastructure designed by António Adão da Fonseca and Cecil Balmond, part of the urban redevelopment program Polis. Featuring a wooden walkway and guardrails made of laminated glass in geometric shapes and four colors — yellow, blue, green, and pink — the bridge filters sunlight, providing a fragmented view of the city of Coimbra and the course of the Mondego River. This crossing facilitates mobility between the banks of the Mondego Green Park, safely connecting pedestrian and cycling paths. The innovative design creates an illusion of separation between the banks, converging at a square suspended over the water. Through the colorful panels, one can observe the wooded bank and the hill of Alta, home to the University of Coimbra, a UNESCO World Heritage site. Thus, the bridge symbolizes the connection between the city’s historical past and its modernity, serving as a meeting point appreciated by residents and tourists who enjoy panoramic views and the surrounding environment.

Square by Square

Square by square, a simple hockey net becomes a study in geometry. Captured on a frozen pond in winter, this close-up reveals the quiet rhythm of repeating lines and shapes — a familiar object transformed into pattern, structure, and stillness for the Geometric Shapes theme.

This is portion of a geometric wreath that hangs on my door. I wanted to capture the shadows as well.

Through careful composition of a modern building's facade, I created an abstract study in light and shadow. The crisp geometric forms cascade down the frame like a dark ribbon, while the precise lighting emphasizes the architectural rhythm.

While waiting for my flight at Istanbul International Airport, I found myself looking up and becoming mesmerized by the ceiling patterns above. The flowing curves and parallel lines created this almost hypnotic visual rhythm that I had to capture.

I decided to frame just this section where the curved panels meet and overlap, creating these interesting geometric interactions. The black and white treatment felt natural for this image - it emphasizes the graphic quality of the design and the contrast between the perforated sections and the solid white divisions.

What caught my eye was how something as functional as airport ceiling panels could be transformed into something so visually striking. These panels probably serve acoustic and ventilation purposes, but they've been designed with such attention to aesthetic detail.

I enjoy finding these moments of unexpected beauty in transit spaces - places we usually just pass through without really seeing. Sometimes the most interesting architectural photography happens when you simply remember to look up.

Don't you just love spirals?

This image began with a capture of a spiral staircase in St John’s College, Cambridge, that I took a while ago. I wanted to convert it into a piece of graphic art using Affinity Photo, mainly on the iPad.

I know a few peeps are interested in the gory detail of my meanderings to produce this sort of thing. I’ll post a link to the original capture in the first comment. Having done some basic development of the image, I copied it three times. I stacked the four layers on top of each other, rotating each higher layer by a quarter of a turn compared to its underlying layer, and aligning them all so the octagonal skylight at the top overlaid nicely. I then changed the blend modes in the following order from the bottom: Normal, Subtract, Divide, and finally Dartken. I just tried various blend modes until I found something interesting.

I then adjusted the result using contrast and vibrance adjustment layers.

The rectangular blocks of colour at the edges are created by overlapping the two portrait-format layers over the landscape-oriented ones, rather than the scene itself. Normally, I would crop those out, but I liked the extra abstract feel they gave.

--

And, just for fun, I asked ChatGPT to describe the image (I gave it a few cues). This was what it said:

"This artwork is a hypnotic blend of geometry and colour—a single staircase in a Cambridge college, reimagined through four overlapping perspectives. The spiralling architecture has been layered and rotated to create a kaleidoscopic vortex, where structural lines and shadows fragment into vibrant bands of orange, blue, green, and gold. At the core, the staircase’s symmetry pulls the eye inward, while the fractured overlays give the impression of motion, like a time-lapse of space folding in on itself. It’s both architectural study and abstract artwork—a familiar place transformed into something cosmic and otherworldly." [I adjusted the spelling to proper English ;)]

And then I asked it for something fun to think about:

"Alright, here’s something to chew on—half science, half philosophy:

Imagine the spiral staircase from your photo. When you stand at the bottom and look up, you see a pattern that feels infinite, drawing your gaze inward like a vortex. But in reality, it’s finite—it’s just steps stacked in a circle.

Now think about the universe. Physicists still don’t know if it’s infinite or finite. One theory says space might actually be curved back on itself, like the surface of a sphere in three dimensions. That means if you kept travelling in a straight line through space, you wouldn’t go out into infinity—you’d eventually loop back around to where you started, like climbing that staircase forever but always coming back to the same point.

So here’s the question:

If the universe is finite but unbounded, just like your staircase pattern, does “infinity” actually exist, or is it just the illusion of never reaching the end?"

So. There you go. Happy Sunday :)

Thanks for taking the time to look. I hope you enjoy the image. Happy Sliders Sunday :)

While exploring La Grande Motte (LGM), I was immediately drawn to the striking geometric pattern of this building facade. The repeating white triangular shapes created a mesmerizing rhythm that begged to be photographed. What truly caught my eye, however, was the solitary palm plant, perfectly positioned within one of the triangular spaces - a rebellious organic element disrupting the strict geometric pattern. I chose to shoot in black and white to emphasize the strong contrast and clean lines, while the careful framing allowed me to create an almost abstract composition where architecture becomes pure geometry. The plant serves as both a point of focus and a gentle reminder of nature's persistent presence in our constructed environments. I waited for soft, even lighting to ensure the shadows would define rather than dominate the geometric shapes, resulting in this clean, graphic interpretation of modern architectural design.

Este painel de azulejos de padrão geométrico-vegetalista, datado entre 1590 e 1620 e atualmente no Museu Nacional do Azulejo em Lisboa, é um exemplo da produção portuguesa do final do século XVI e início do XVII. Composto por módulos repetidos de motivos florais estilizados em azul sobre fundo branco, enquadrados por uma trama geométrica em amarelo ocre, o desenho reflete influências mudéjares e renascentistas, evidenciando a continuidade da tradição decorativa hispano-mourisca em Portugal. Os azulejos de padrão eram frequentemente utilizados no revestimento integral de paredes de igrejas e palácios, criando autênticos “tapetes” cerâmicos e desempenhando funções decorativas e simbólicas. A paleta cromática, limitada ao azul, amarelo e branco, é característica da produção portuguesa anterior à influência holandesa, afirmando-se como um elemento estruturante da arquitetura portuguesa e um testemunho da criatividade das olarias da época.

This panel of tiles with a geometric-vegetalist pattern, dated between 1590 and 1620 and currently in the National Tile Museum in Lisbon, is an example of Portuguese production of the late 16th and early 17th centuries. Composed of repeated modules of stylized floral motifs in blue on a white background, framed by a geometric pattern in ocher yellow, the design reflects Mudejar and Renaissance influences, showing the continuity of the Hispano-Moorish decorative tradition in Portugal. Patterned tiles were often used in the integral coating of church and palace walls, creating authentic ceramic “carpets” and performing decorative and symbolic functions. The chromatic palette, limited to blue, yellow and white, is characteristic of Portuguese production prior to the Dutch influence, establishing itself as a structuring element of Portuguese architecture and a testimony to the creativity of the potteries of the time.

Triptych

Little wonders are all around us when you know where to look and how to capture them. This is why I love to be out for hours, staring at the sky.

This year the Flickr Friends Melbourne Group have decided to have a monthly challenge which is submitted on the 5th of every month. This month’s theme is “geometry”.

I had lots of ideas for this theme, and I took plenty of photos of things that were geometric. I had a whole array of details from the Art Deco style villas from the 1920s and 1930s in my neighbourhood that still have their original facades, fences and gates. I also photographed pieces of a beautiful Victorian Anglo-Indian occasional table that belonged to my Great Grandparents who acquired it whilst working in the diplomatic corps during the Raj. My intention had been to make collages of these photos, however once they were done, I really wasn’t satisfied with the result.

Then the solution hit me! Earlier this year I paid a call to Zetta Florence, which is a wonderful shop that specialises in beautifully made papers. Amongst the papers I had bought was a roll of hand stencilled paper featuring a geometric Art Deco fan pattern used quite commonly in the 1920s and 1930s. Unfurling it down my table it gave the crisp look I wanted for my submission for the theme! So you see, that sometimes the simplest ideas can offer a perfect geometric solution!

Art Deco is a European style that celebrated the exciting and dynamic aspects of the machine age. It was all about sleekness, sharp lines, and vivid decorative elements like fins, fans, speed lines, portal windows and low relief sculpture. There was also a drive towards the clean lines of geometry in design.

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.

View from the Dome.

Purchase high quality prints here

Imagine stepping off a narrow side street and finding yourself face-to-face with this stunning, classic corner of Portugal, most certainly in the historic heart of Porto. This image encapsulates the country’s profound love affair with azulejo tiling, as an entire multi-story building is wrapped in beautiful blue and white ceramic tiles. The patterns are intricate and traditional, primarily geometric and floral, creating a visually rich texture that gives the old building a fresh, almost shimmering facade under the bright sun.

The building itself maintains a sturdy, historic feel, featuring numerous windows and small wrought iron balconies on the upper floors, typical of Portuguese residential architecture from the late 19th or early 20th century. The blue and white coloring—the colors most commonly associated with Portuguese decorative arts—is a deliberate choice that ties the modern streetscape directly to centuries of craft and tradition.

The setting is pure European cobblestone charm. The intersection is paved with rough, irregular stones (calçada), leading the eye into the background where the street narrows into a dimly lit canyon flanked by taller buildings. The contrast is sharp: the bright, tiled façade on the left stands out against the pale, unadorned stone and plaster of the neighboring buildings. The scene is grounded by modern urban elements, including traffic signs (a clear 'Do Not Enter' sign), bollards, and a solitary figure walking quickly away from the intersection, giving a sense of the place being both a historic museum and a living, bustling part of the city. The presence of small shops and ground-floor businesses hints at the commercial activity sustaining this beautiful urban core. This view is a perfect snapshot of urban elegance and historic resilience, capturing the unique texture and light of a Portuguese afternoon.

Dusk over London — The Shard and London Bridge illuminated beneath the evening sky. A timeless view from the Sky Garden 🇬🇧

in the bustling parking lot of the mercadona supermarket in palmanova, a solitary figure crosses the zebra stripes, casting a stark silhouette against the glistening pavement. the harsh light of the mediterranean sun creates a dramatic interplay of shadows and highlights, turning the mundane act of crossing a street into a moment of abstract art. the figure’s shadow stretches and distorts, echoing the fleeting nature of our daily journeys. this image captures a transient moment, where light and dark dance together in an urban ballet, reminding us of the beauty hidden in everyday scenes.

In capturing this modern building, I was drawn to the striking geometry created by its angular corner. I positioned myself to emphasize the converging lines that lead the eye upward into darkness, creating a sense of ascension and limitlessness. Working in black and white was a deliberate choice to strip away distractions and focus purely on form, texture, and the interplay of light and shadow. The dark negative space surrounding the building isolates the structure and creates a dramatic stage for architectural elements to perform. I wanted to transform this functional structure into something abstract and contemplative—revealing the hidden rhythm in the repeating patterns of sun shades and windows that might otherwise go unnoticed. Through this image, I aimed to challenge perceptions of scale and perspective, making the familiar unfamiliar. By focusing on this single corner, I invite viewers to consider how fragments can sometimes tell more compelling stories than whole scenes, much like how a single architectural detail can embody the philosophy behind an entire design.

Using stark contrast and clean composition, I transformed this building detail into an abstract study of curved lines. The rhythmic pattern of white bands against black creates a sense of movement and flow, turning architecture into pure geometric poetry.

The theme for week 4 is Geometric Shapes

We love geometric pattern wallpaper as we live in an Art Deco house. We've just finished restoring this room. I will use the same wallpaper design in a different colour on the next room we take on.

A wide-angle view capturing the elegant modern arches of Putrajaya Mosque in Putrajaya against a dramatic sunset sky with reflective wet tiles.

Download the high-resolution version here:

www.istockphoto.com/photo/sunset-at-putra-mosque-gm228462...

✔ Commercial licensing available

✔ High resolution file

photo rights reserved by Ben

The eye is naturally drawn toward the central entrance of the Šarena Džamija, framed by white-painted columns and refined decorative details that give the wall a sense of harmony and balance. Above the doorway, calligraphic panels and ornamental elements create a calm, almost rhythmic order. The painted walls reveal floral motifs, geometric patterns, and subtle landscapes that gently balance one another. Soft daylight enters the space, highlighting warm tones and textures without overwhelming the interior. Everything feels carefully composed, with a natural sense of calm and proportion. On the pillars, small signs quietly remind visitors to remove their shoes and switch off mobile phones, inviting a moment of respect and stillness. Inside the Šarena Džamija, a richly decorated space unfolds where color, form, and symmetry come together. The mosque was originally built in the 15th century and later received its distinctive painted decoration. Despite its age, the space feels open and welcoming — a place where history, craftsmanship, and everyday life meet in quiet harmony.

Inside the Šarena Džamija in Tetovo, North Macedonia, color, light, and symmetry come together in a richly decorated interior. Built in the 15th century, the mosque remains a living place where history, craftsmanship, and daily life meet.

De blik wordt direct naar de centrale ingang geleid van de Šarena Džamija, omlijst door witgeschilderde zuilen en verfijnde schilderingen die de wand als een decoratief geheel laten aanvoelen. Boven de deuropening zorgen kalligrafische panelen en ornamenten voor een rustige, bijna ritmische ordening. De beschilderde wanden tonen bloemmotieven, geometrische patronen en subtiele landschappen die elkaar in evenwicht houden. Het daglicht valt zacht naar binnen en benadrukt de warme tinten en texturen, zonder de ruimte te overheersen. Alles oogt zorgvuldig opgebouwd, met een natuurlijke balans tussen decoratie en rust. Op de pilaren herinneren kleine symbolen bezoekers eraan hun schoenen uit te doen en hun mobiele telefoon uit te schakelen — een ingetogen uitnodiging tot respect en verstilling. Binnen in de Šarena Džamija ontvouwt zich zo een rijk gedecoreerde ruimte waarin kleur, vorm en symmetrie samenkomen. De moskee werd oorspronkelijk gebouwd in de 15e eeuw en kreeg later haar kenmerkende beschilderingen. Ondanks haar leeftijd voelt de ruimte open en toegankelijk — een plek waar geschiedenis, vakmanschap en dagelijks gebruik op een vanzelfsprekende manier samenkomen.

a part of the Coastal Road now

This shot, taken in São Paulo, Lisbon, continues my "Urban Serendipity" series. The play of light and shadow against a simple urban backdrop caught my attention, creating a moment that feels both fleeting and reflective. The colors and textures bring a subtle shift from my usual monochrome focus, adding a new layer to the project.

Processsed in OnOne Photo 10: Layers and Effects.

Poplar

Fujifilm Superia 200 (expired)

Shot at 200

Canon EOS 30

Canon 50mm f/1.4

SCOUT: "Paddy? Paddy!"

PADDY: "Yes Scout?"

SCOUT: "Why do we have to sit on this wall, Paddy?"

PADDY: "Because Daddy thinks it's an interesting piece of geometry."

SCOUT: *Scratches head with paw.* "What's 'geometry'? Can we eat it?"

PADDY: "No, Scout! 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. So too are triangles and pyramids, like the way these bricks are laid."

SCOUT: *Scratches head again.* "You know what I think about geometry, Paddy?"

PADDY: "No, what, Scout?"

SCOUT: "I think it's hard... especially on my soft little bottom!"

My Paddington Bear came to live with me in London when I was two years old (many, many years ago). He was hand made by my Great Aunt and he has a chocolate coloured felt hat, the brim of which had to be pinned up by a safety pin to stop it getting in his eyes. The collar of his mackintosh is made of the same felt. He wears wellington boots made from the same red leather used to make the toggles on his mackintosh.

He has travelled with me across the world and he and I have had many adventures together over the years. He is a very precious member of my small family.

Scout was a gift to Paddy from my friend. He is a Fair Trade Bear hand knitted in Africa. His name comes from the shop my friend found him in: Scout House. He tells me that life was very different where he came from, and Paddy is helping introduce him to many new experiences. Scout catches on quickly, and has proven to be a cheeky, but very lovable member of our closely knit family.

O teto da Catedral de Pisa apresenta um notável trabalho em caixotões de madeira dourada, resultado da reconstrução realizada após o incêndio de 1595 que destruiu grande parte do interior original do edifício. A estrutura atual, concluída no início do século XVII sob a direção do grão-duque Fernando I de Médici, substitui a cobertura medieval em treliça aberta. Cada caixotão contém rosetas esculpidas e motivos fitomórficos em relevo, com folhas de acanto e elementos florais dispostos simetricamente sobre fundo escuro, criando um efeito de profundidade visual. Ao centro, destaca-se o brasão dos Médici, evidenciando o mecenato da família na restauração do templo. A catedral, iniciada em 1063 pelo arquiteto Buscheto para celebrar a vitória pisana sobre os sarracenos em Palermo, é um exemplar fundamental do estilo românico pisano. As janelas laterais, visíveis nas extremidades da imagem, iluminam a nave central com luz natural difusa, realçando os tons dourados da talha.

The ceiling of Pisa Cathedral features remarkable gilded wooden coffered work, the result of the reconstruction carried out after the 1595 fire that destroyed much of the building’s original interior. The current structure, completed in the early 17th century under the direction of Grand Duke Ferdinand I de’ Medici, replaces the medieval open-truss roof. Each coffin features carved rosettes and phytomorphic motifs in relief, with acanthus leaves and floral elements arranged symmetrically against a dark background, creating an effect of visual depth. At the center stands out the Medici coat of arms, highlighting the family’s patronage in the restoration of the cathedral. The cathedral, begun in 1063 by the architect Buscheto to celebrate Pisa’s victory over the Saracens in Palermo, is a prime example of the Pisan Romanesque style. The side windows, visible at the edges of the image, illuminate the central nave with diffused natural light, highlighting the golden tones of the woodcarvings.

© Butch Leitz

All rights reserved

www.butchleitzphotography.com

Ground floor at Versailles, straight in, back loge area (you enter via a main hall on the ground floor that "T"'s into this about 3 or 4 arches down on the right) (the room off to the left is like a huge windowed solarium type of thing running the length of this hall. The "solarium" looks out on the famous Versailles Gardens).

The thing I love about this shot is not only the obvious visual geometry, but how the edges of the colums are so sharp contrasted with the soft almost sensual quality of the stone work within each arch here - each appearing to melt into the next. The lighting was all natural, of course, and I love the way the shadows and light worked in this. I'm sure that different times of day would show dramatically different results in this hallway. The other thing I like is the lack of ornate over-the-top decoration compared to that found in the rest of Versailles.

Available for purchase, this looks fabulous in 20x30 or 30x40 in a formal frame or unframed mounted with wall offsets for nouveau settings. I had an office manager that bought a 20x30 and put it in an old fashioned gilt-gold ornate frame and hung it in her dining room. It looked fabulous, if I do say so myself! Starting at $450. (Don't worry, prints do not have watermarking shown here but are signed by me in the lower right corner after I have reviewed the print for quality.)

butchleitzphotography.blogspot.com/2011/01/versailles-pas...

Leica DC Vario-Elmarit 9.1-91mm f2.8-5.9 Asph

This image captures the intricate geometric patterns of a modern atrium, looking directly upwards towards a vast glass ceiling. Sunlight streams through the grid-like structure, illuminating the metallic and glass surfaces that reflect the sky and surrounding architecture. The perspective creates a sense of depth and dizzying height, emphasizing the building's complex design.

In capturing this scene, I wanted to reveal the raw beauty that resides in modern architecture. My intention was to transcend the simple utilitarian function of a stair railing to extract an abstract and clean composition. I chose black and white to amplify the dialogue between geometric lines and concrete texture, thus creating a visual tension between the dynamic diagonal and the static wall. The regular circles left by the formwork add a subtle rhythmic punctuation to the whole. Through this image, I seek to invite the viewer to rediscover the hidden poetry in the architectural details that surround us daily, transforming a functional element into a contemplative work.

Inside Málaga's Castillo de Gibralfaro, where Islamic geometric patterns adorn almost every ceiling, doorway and wall.

Islamic geometric patterns are one of the major forms of Islamic ornament, which tends to avoid using figurative images, as it is forbidden to create a representation of an important Islamic figure according to many holy scriptures.

The geometric designs in Islamic art are often built on combinations of repeated squares and circles, which may be overlapped and interlaced, as can arabesques (with which they are often combined), to form intricate and complex patterns, including a wide variety of tessellations. These may constitute the entire decoration, may form a framework for floral or calligraphic embellishments, or may retreat into the background around other motifs. The complexity and variety of patterns used evolved from simple stars and lozenges in the ninth century, through a variety of 6- to 13-point patterns by the 13th century, and finally to include also 14- and 16-point stars in the sixteenth century.

Geometric patterns occur in a variety of forms in Islamic art and architecture. These include kilim carpets, Persian girih and Moroccan zellij tilework, muqarnas decorative vaulting, jali pierced stone screens, ceramics, leather, stained glass, woodwork, and metalwork.

A striking black and white architectural photograph showcasing the angular modernist corner of the Manchester Metropolitan University Library building on Oxford Road. The dramatic low-angle perspective emphasizes the building's bold geometric design, with its repetitive pattern of concrete and glass creating powerful diagonal lines that converge toward a central point. The brutalist-inspired façade features a rhythmic succession of projecting elements that create deep shadows and strong visual texture against the moody sky. This contemporary educational architecture represents the confident modernist approach to university design from the late 20th century.

a solitary figure moves through layers of glass, light, and architecture, suspended between presence and disappearance. reflections fracture the scene into fragments, transforming an ordinary passage through the city into something that feels closer to memory than reality.

An abundance of patterns from the furniture, shadows and flagstones. Chicago Botanic Garden

The stunning interior of a hotel in Turin, Italy showcases a breathtaking view of the atrium from the ground floor. The intricate wooden beams and railings create a mesmerizing geometric pattern leading up to a skylight, allowing natural light to illuminate the space. This architectural masterpiece blends modern design with historical charm.

Poplar

Fujifilm Superia 200 (expired)

Shot at 200

Canon EOS 30

Canon 50mm f/1.4

Today I finally had a reason to use my macro lens again. This month’s theme in my local photography club is “sharp and spiky,” so I chose this simple everyday object as my subject. The close-up view of wooden toothpicks arranged in a radial pattern highlights their pointed tips, fine textures, and natural symmetry, turning a familiar item into an abstract, minimalist composition.

Inside Istanbul's new airport, I was struck by how the architectural elements created this compelling composition. The subtle green tones and gentle curves, punctuated by precise lighting, offered a perfect study in modern architectural design. I composed the shot to emphasize the flowing lines and create a sense of spatial depth.

Using stark upward perspective on this modern building's facade, I created an abstract study in geometric patterns. The monochromatic treatment emphasizes the sharp angles and repetitive elements, transforming functional architecture into a graphic composition.

Plebejus argyrognomon

Goliath. visually explores the theme of scale, emphasizing the contrast between the immense size of urban architecture and the relative smallness of individual human experience within these spaces. It is a study in contrasts: solidity and void, opacity and transparency, enormity and minutiae. Goliath. ultimately raises questions about the individual's place in the architectural colossus of the urban landscape.

Library Square in Downtown Vancouver is a multi-use complex that brings together the Vancouver Public Library’s Central Branch, a Federal Office Tower, and various retail and service spaces. Designed by Moshe Safdie, the library’s distinct curved architecture was inspired by the Colosseum in Rome.

This photo captures layered reflections of the surrounding high-rises on the building’s glass surfaces, creating a blended cityscape where indoor and outdoor spaces merge.

Vancouver, BC, Canada

Donate: PayPal & Venmo | Join: Patreon