Grounds for Sculptures, New Jersey

It is a morning light on Kanawa Island, Flores and I was listening to "Dream of Shore Bordering Another World" - Chrono Cross OST, while taking this shot.

Captivating a picturesque place with a song harmonizes the moment, I think it is quite a superb feeling that only travelers can enjoy.

Visit www.rifkysetya.com for more exposures & travel blog. You may also follow me in Instagram (@rifkysetya) for my project500.

cheers,

I somehow like this photo although the black on the right side is quite massive. Maybe just because of the mood. I tried out different persepectives but this was the one I liked most. It was not so easy to have the Danbo djing and looking into the camera ;). Further more some tiny headphones would have been nice.

It is really time to take the Danbo out and let him harmonize with architceture ;).

Der 102,5 ha große Neue Garten liegt im Norden Potsdams am Jungfernsee. Über das Wasser hinweg bestehen gestalterische Verbindungen zu den Gärten von Sacrow, Pfaueninsel, Glienicke und Babelsberg, wodurch er eine zentrale Rolle in der Gartenlandschaft erhält. Trotz Überformung durch Lenné hat er noch sentimentale Einzelpartien aus der Entstehungsphase vor 1800 bewahrt. Seine Geschichte fängt mit dem Ankauf eines zentralen Grundstückes durch den Kronprinzen Friedrich Wilhelm (II.) an. Im Jahre 1787, ein Jahr nach dem Regierungsantritt, begann die Anlage des Neuen Gartens, der seinen Namen programmatisch in der Abkehr vom alten Barockpark Sanssouci erhielt. Als Gestalter wurde der Wörlitzer Gärtner Johann August Eyserbeck verpflichtet, was die Umsetzung der an englischen Gärten orientierten Idealvorstellung Friedrich Wilhelms garantierte. Ungünstig für den einheitlichen Charakter des Gartens war der sich über mehrere Jahre hinziehende Grundstücksankauf. Neben einbezogenen ehemaligen Wohnhäusern entstanden zwischen 1787 und 1792 wichtige neue Bauten im Garten, von denen heute noch viele bestehen: Marmorpalais, Küche in Form einer römischen Tempelruine, Gotische Bibliothek, Schindelhaus, Orangerie, Grotte, Meierei, Pyramide (Eiskeller) und das holländische Etablissement. Vor letzterem verläuft, begleitet von Pyramidenpappeln (seit 1864 Pyramideneichen), ein Musterstück für den preußischen Chausseebau. In der Gartenanlage entstand eine Fülle von Partien unterschiedlicher sentimentaler Prägung, die von den jeweiligen Bauten oder Pflanzungen in ihrem Charakter bestimmt werden. 1816 überarbeitete Peter Joseph Lenné im Auftrag des Thronfolgers den zugewachsenen und unmodern gewordenen Garten. Unter Erhalt vieler Bereiche und Entfernung zu dichter Gehölze bekam der Neue Garten große Sichten und Wiesenräume, gefälligere Wegeführung und vor allem die Blickverbindungen zu den Nachbargärten (Sacrow, Pfaueninsel, Glienicke, Babelsberg, Potsdam, Pfingstberg). Trotz kleinerer Veränderungen zur Kaiserzeit und durch Rücknahme von Einbauten aus der Zeit der russischen Nutzung (1945–1954) hat sich noch immer die von Lenné geplante Grundstruktur bewahrt. Das Schloss Cecilienhof, 1913–1917 für den Kronprinzen erbaut, fügt sich sehr harmonisch ein. Eine 13 ha große Fläche, die 1960-1990 als Grenzgebiet zerstört war, ist inzwischen wieder hergestellt worden.

www.spsg.de/schloesser-gaerten/objekt/neuer-garten

The New Garden, which covers 102.5 hectares, lies at Jungfernsee Lake in the northern part of Potsdam. Creative viewing connections extend across the water to the gardens of Sacrow, Peacock Island, Glienicke and Babelsberg, evidencing the park’s central role in this overall garden landscape. Despite its having been reshaped by Lenné, the garden has nevertheless preserved individual, emotive areas that date from the phase of its creation before 1800. The garden’s history begins with the purchase of a central piece of land by Crown Prince Frederick William (II). In 1787, a year after his ascension to the throne, the laying out of the grounds commenced at the New Garden, the name being programmatic for the abandonment of the old baroque park at Sanssouci. Wörlitz gardener Johann August Eyserbeck was charged with its creation, a decision that ensured a transformation in alignment with Frederick William’s ideals oriented towards English gardens.

What undermined the uniform character of the garden was the fact that it had taken several years to purchase the land. In addition to the former private houses that were included, important new buildings were constructed in the garden between 1787 and 1792, many of which still exist today: the Marble House, the kitchen in the shape of a Roman temple ruins, the Gothic Library, Shingle House, orangery, grotto, dairy, pyramid (ice house) and the Dutch houses. In front of the latter, we find a prime example of Prussian country road construction lined with pyramid-shaped cottonwood poplars (now, since 1864, pyramid-shaped oaks). On the garden grounds, a number of areas were created, whose characters were emotively shaped by the respective buildings or plantings to varying degrees.

In 1816, Peter Joseph Lenné was commissioned by the successor to the throne to rework the overgrown garden, which no longer conformed with the contemporary taste. By preserving many areas while removing copses that had become too dense, the New Garden was provided with new perspectives and meadow spaces, more pleasing pathways and above all, with viewing connections to the neighboring gardens (Sacrow, Peacock Island, Glienicke, Babelsberg, Potsdam, Pfingstberg Hill). Despite the smaller changes made during Imperial times and owing to the removal of installations dating from the time the garden was used by the Russians (1945 –1954), Lenné’s basic structural design has been retained up to this day. Cecilienhof Country House, built for the Crown Prince from 1913 to 1917, harmonizes in this setting. In the meantime, an area of 13 hectares has been restored, which had been destroyed during its use as part of the border zone from 1960 to 1990.

www.spsg.de/en/palaces-gardens/object/new-garden

I actually had NO clue what I wanted to shoot for this week's entry "Zodiac". Until this afternoon when I was eating some raisins, cranberries and nuts. When I saw these two parts of a cashew forming a nice harmonized shape it just struck me.

I am not a -Zodiac Person- at all, but I do find it highly intriguing how people learned and knew so much out about constellations and equinoxes thousands of years ago.

Have a great Macro Monday everybody!

In the whispers of the playful breeze,

A stunning landscape comes to be.

Where the mighty lighthouse stands tall,

Guiding lost souls beyond the squall.

Surrounding the lighthouse, a vibrant scene,

Birds soaring high, dancing in between.

Their wings graze the azure canvas above,

Gracefully gliding, harmonizing with love.

In this stunning landscape, tranquility blooms,

Where dreams are nurtured, removing life's gloom.

A lighthouse, some birds, and peace in our mind,

A gift from nature, so rare and kind.

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For the first time, on Saturday, OMYA ran tours of their Tatlock Quarry, an impressive marble (calcium carbonate) quarry in Lanark County in Eastern Ontario. We only discovered this at the last minute and headed to Tatlock in the dreary weather.

They ran several buses throughout the day, taking us all of the way to the bottom.

The rock is white although the patch that we see in this photo is not the purest corner in the deposit. When we got to the bottom, we were asked to stay near the bus, so this is what I took or at least one of the pano stitches that I took. This is a stitch of 7 vertical photos: the original being 9330px wide and 32.5mb.

The Tatlock Quarry in Lanark County mines a type of marble created from metamorphosed Precambrian limestone. It was formed 1.2 billion years ago and has been mined one way or another for almost hundred years but only extensively in the last three decades or so.

The quarry is roughly 1km long, .5km wide, and 120 metres deep. It is expected that it will remain productive for at least another 40 years although it will likely be three times wider and deeper by then.

When the rock is exhausted or becomes cost ineffective, the area will be restored to a natural state that harmonizes with the surrounding area. The bottom will fill with water and could become part of a very nice recreational area.

Meanwhile, the calcium carbonate will be used in products such as paints, plastics, carpet backing, floor tiles, and packaging.

There are four more photos in Comments (clickable), the first two taken from the bus. The photos confirm that it was a dreary day, in the bus or out of it. Indeed, they are almost monochromatic sepia in tone. I am sure that the white rock gleams on a sunny day. In fact, I can testify that it does.

It was fun. Thanks OMYA.

© Anvilcloud Photography

the balls are an art project installed on a railway bridge in my hometown.

all sound from around will be collected via tuned pipes and the soundballs

send out the collected sound transformed and harmonized. this is to give

people the possibility to experience the great urban space acoustically.

well, something like that. ;)

Si vous vous promenez dans la réserve naturelle de la Warande, entre Westende et Middelkerke, vous découvrirez désormais cette tour d'observation, sur laquelle vous pourrez même grimper, si le cœur vous en dit ! Conçue par le bureau d'architecture Delobelle, elle a été installée à la place d'un château d'eau, au milieu des dunes.

Les dunes de la Warande sont situées entre Middelkerke et Westende. Il s'agit d'une réserve naturelle remplie d'une grande variété de végétation, dont de larges buissons, différents types de dunes et d'oyats. On trouve également des mares pour les amphibiens dans cette réserve naturelle de 32 hectares. Au milieu de la réserve, il y avait un grand château d'eau inaccessible au public, qui servait de véritable point de repère pour Middelkerke et ses environs. Ce bâtiment vient d'être remplacé par une tour d'observation ouverte au public. Celle-ci propose de pouvoir observer d'en haut la nature avoisinante, mais aussi de pouvoir regarder le paysage côtier et la mer.

Une grande attention a été accordée à l'intégration de la tour dans son environnement. Une telle structure représente en effet un objet étrange dans un environnement naturel protégé.

Afin de minimiser l'impact sur l'environnement naturel, on a utilisé les matériaux de manière sobre et adaptée et on a choisi le moins de matériaux différents possibles. De plus, ces matériaux vieillissent naturellement et s'intègrent bien à la nature. Les couleurs utilisées s'harmonisent elles aussi avec l'environnement naturel.

Le château d'eau a été en grande partie démoli, mais une base de 7 m de haut devait être conservée car les installations techniques fournissent toujours de l’eau potable à Middelkerke. Sur ce robuste socle en pierre, la tour d'observation se développe, comme un fagot de dunes ou d'oyats jouant dans le vent.

Une passerelle en bois droite et massive s'élève lentement et se transforme en passerelle légère, en bois et métal, limitant l'impact au niveau du sol. Le sable et le vent peuvent s'en donner à cœur joie. La passerelle s'enroule alors autour des vestiges du château d'eau et monte jusqu'à une plateforme d'observation située à 7 m de hauteur. Cette plate-forme est accessible aux utilisateurs de fauteuils roulants et aux landaus. Il offre non seulement une vue magnifique sur la réserve naturelle et ses environs, mais également sur un étang artificiel installé sur le "toit" de ce qu'il reste du château d’eau. Cet étang ne fait pas seulement écho à la fonction précédente du bâtiment, mais répète et renforce la mare pour amphibiens déjà existante. Les visiteurs évoluent à proximité de la faune et la flore de la région. Le trop-plein de l'étang a été conçu de manière à servir d’"escalier" entre sol et l'étang. La structure de la tour est composée de tubes métalliques galvanisés et laqués, en référence aux oyats. Cette structure supporte l'escalier en colimaçon, une plateforme de repos et la plateforme panoramique. Sur la plateforme de 20 m de haut, la vision panoramique est exceptionnelle.

If you take a walk in the Warande nature reserve, between Westende and Middelkerke, you will now discover this observation tower, on which you can even climb, if you feel like it! Designed by the architectural firm Delobelle, it was installed in place of a water tower, in the middle of the dunes.

The dunes of Warande are located between Middelkerke and Westende. It is a nature reserve filled with a wide variety of vegetation, including large bushes, different types of dunes and marram grass. There are also ponds for amphibians in this 32 hectare nature reserve. In the middle of the reserve, there was a large water tower inaccessible to the public, which served as a real landmark for Middelkerke and its surroundings. This building has just been replaced by an observation tower open to the public. This offers to be able to observe the surrounding nature from above, but also to be able to look at the coastal landscape and the sea.

Much attention has been paid to integrating the tower into its environment. Such a structure indeed represents a strange object in a protected natural environment.

In order to minimize the impact on the natural environment, we used the materials in a sober and appropriate way and we chose as few different materials as possible. In addition, these materials age naturally and blend in well with nature. The colors used also harmonize with the natural environment.

The water tower was largely demolished, but a 7m high base had to be kept as the technical installations still provide drinking water in Middelkerke. On this sturdy stone plinth, the observation tower unfolds like a bundle of dunes or marmosets playing in the wind.

A straight, massive wooden walkway rises slowly and transforms into a lightweight, wood and metal walkway, limiting impact at ground level. The sand and the wind can have a lot of fun. The footbridge then wraps around the remains of the water tower and climbs up to an observation platform located at a height of 7 m. This platform is accessible to wheelchair users and prams. It not only offers a magnificent view of the nature reserve and its surroundings, but also of an artificial pond installed on the "roof" of what remains of the water tower. This pond not only echoes the building's previous function, but repeats and strengthens the already existing amphibian pond. Visitors move in close proximity to the flora and fauna of the region. The pond overflow has been designed to act as a "staircase" between the ground and the pond. The structure of the tower is made up of galvanized and lacquered metal tubes, in reference to the sea marmalade. This structure supports the spiral staircase, a resting platform and the viewing platform. On the 20 m high platform, the panoramic view is exceptional.

In de Amsterdamse P.C. Hooftstraat is door Studio RAP de gevel van een boetiek vernieuwd. Op de gevel van het Ceramic House zijn expressieve, 3D-geprinte keramische tegels en bakstenen geplaatst waarvan de textuur is bepaald door een algoritme. De gevel heeft zijn oorspronkelijke en voor de P.C. Hooftstraat kenmerkende driedelige indeling behouden.

De maat, het type en de kleur van de nieuwe gevelmaterialen en ornamenten zijn afgestemd op die van de naastgelegen gebouwen. Wel nemen de keramische tegels en bakstenen een andere vorm aan, waardoor de gevel van een afstandje haast lijkt te golven.

Op straatniveau is de gevel bekleed met grote 3D-geprinte keramische tegels van circa 40 x 20 cm, geglazuurd in parelmoer wit met een subtiele gele tint. Ter hoogte van de begane grond zijn de geornamenteerde tegels vlak, naar boven toe worden ze expressiever.

De gevel van de hoger gelegen verdiepingen is samengesteld uit 3D-geprinte bakstenen die geglazuurd zijn in drie verschillende tinten rood. De bakstenen zijn samengesteld volgens het originele kruisverband van het metselwerk en zijn het meest expressief aan de onderzijde van dit geveldeel. De bakstenen worden gelijmd in lasergesneden roestvrijstalen cassettes.

Een doel van het ontwerp is volgens Studio RAP om mensen te inspireren met digitaal vakmanschap. Daarnaast verwijst de keramische gevel naar de collectie van het nabijgelegen Rijksmuseum, waar een grote verzameling keramiek uit de hele wereld wordt tentoongesteld, aldus het bureau.

Bron: architectenweb.nl/nieuws/artikel.aspx?id=57256

---------------

Studio RAP has renovated the façade of a boutique on Amsterdam’s P.C. Hooftstraat. The façade of the "Ceramic House" features expressive, 3D-printed ceramic tiles and bricks with textures determined by an algorithm. It retains the original tripartite layout characteristic of the P.C. Hooftstraat.

The size, type, and color of the new façade materials and ornaments harmonize with those of the adjacent buildings. However, the ceramic tiles and bricks take on unique forms, creating an effect where the façade appears to ripple when viewed from a distance.

At street level, the façade is clad in large 3D-printed ceramic tiles measuring approximately 40 x 20 cm, glazed in a pearlescent white with a subtle yellow hue. While the ornamented tiles are flat at ground level, they become more expressive as they rise.

The façade of the upper floors consists of 3D-printed bricks glazed in three different shades of red. Arranged in the original cross-bond masonry pattern, the bricks are most expressive at the base of this section. They are bonded into laser-cut stainless steel cassettes.

According to Studio RAP, one of the design's goals is to inspire people through digital craftsmanship. The firm also notes that the ceramic façade references the nearby Rijksmuseum, which houses a vast collection of ceramics from around the world.

A tribute to King of POP with this own Lyrics from History .

"HIStory"

Let's harmonize all around the world

Rishikesh, nestled along the sacred Ganges, exudes spiritual serenity. The chilled river, touching the plains from the Himalayas, flows gracefully, carrying the essence of ancient traditions. Photographed here is the iconic Laxman Jhula, a revered hanging bridge, connecting the riverbanks, inviting pilgrims and seekers to traverse its suspended path, harmonizing with the mystical aura of this Himalayan haven.

Shot in October, 2000 (in film), scanned and reproduced after basic processing.

© All rights reserved, don´t use this image without my permission. Contact me at debmalya86@gmail.com

stretching your limbs to the sun...

So you can try to kill me, but I can't fucking die

Song: youtu.be/o3xHEJZs7as?si=eqe2SOAldBPMinMc

The coyotes cry

And the sirens pass and harmonize

Fires starting every day and night

Burn around us while we're trapped inside

Wouldn't it be nice

To play the game without a crooked die

In a world where you don't have to hide?

You don't have to live in a disguise

I said it's enough

I begged and I ran in circles

I climbed to the sun

And fell in a concrete jungle

I said it's done

You never know if you'll get what you wish for

I climbed to the sun

And I fell, I fell in a concrete jungle

And I'm the fucking king!

~~~~~~~~~~~~~~~~~~~~

CREDITS: prmfd.co/p/znI9VLij2iLZ

~~~~~~~~~~~~~~~~~~~~

Apollonio di Giovanni (Florence, 1415 or 1417 - 1465) the Trinity and Saints Cosmas and Damian, Francis of Assisi, Sebastian and Julian - in the predella Annunciation (1450-1460) - Galleria dell'Accademia, Florence

Apollonio di Giovanni in quest opera armonizza la salda resa plastica e spaziale di cultura rinascimentale, con elementi piu' arcaizzanti come il fondo oro e le aureole piatte.

Apollonio di Giovanni in this work harmonizes the firm plastic and spatial rendering of Renaissance culture, with more archaic elements such as the gold background and the flat halos.

it.wikipedia.org/wiki/Apollonio_di_Giovanni

en.wikipedia.org/wiki/Apollonio_di_Giovanni_di_Tommaso

In the "Harmony of Abstraction" series, the innovative digital artist Adrian Clarke reinterprets Vasily Kandinsky's groundbreaking approach to abstract art. Clarke views art as a symphony of colors and shapes that resonate with the viewer's inner emotions and thoughts. His work pays homage to Kandinsky's ability to compose images that capture the essence of music and transform it into a visual form. With a modern twist, Clarke introduces AI into the equation, allowing algorithms to harmonize with human intuition to create works pulsating with life and dynamism.

Poem:

Upon the digital stage, a vision casts,

A myriad of colors, contrasts.

Shapes that sing a silent song,

A visual symphony, bold and strong.

AI's hand, guided by past muse,

Kandinsky's echoes, in pixels fuse.

Abstract forms in vibrant play,

Compose the heart's unspoken ballet.

In virtual spaces, art is born,

From binary depths, a new dawn.

Each stroke, a note in a grander scheme,

A canvas that holds the digital dream.

Haiku:

Shapes and hues entwine,

A digital dance divine,

Art's new frontier shines.

These works celebrate the past and probe into the future, exploring and blurring the boundaries between traditional art and new technology.

Giving priority to the art of using colours to create original artistic forms. The colours of the walls, columns and the carpet are harmonized together transforming the entire Mosque into an artistic masterpiece and a symphony of colors and shades.

Using modern techniques of artistic glass work; mosaic, carved and sand blasted glass displaying traditional Islamic designs of symmetry and repetition.

The main prayer hall is dominated by one of the world’s largest chandeliers –10 metres in diameter, 15 metres in height and weighing twelve tonnes

Le premier phare de Ploumanac’h date de 1860. Détruit par les troupes allemandes le 4 août 1944, il a été remplacé par le phare actuel en 1946 (premier allumage en octobre 1948). De nuit, il est repérable grâce à son feu rouge à occultations avec un secteur blanc. Cette dernière couleur n'étant visible qu'entre l'île Tomé et l'île Rouzic. La version actuelle a été construite par Martin et frère (entreprise de BTP local de l'époque) selon les plans des architectes Henry Auffret et Hardion. Ces derniers ont dû travailler de concert avec les Beaux Arts pour construire la tour en granite rose de La Clarté, de manière qu'il s'harmonise avec le cadre environnant, classé et protégé peu avant la guerre. Les mosaïques intérieures sont l’œuvre de l'artiste Odorico.

Du phare, on a une vue directe sur le château de Costaérès, l'île Renote et sur l'archipel des Sept-Îles.

The first lighthouse of Ploumanac'h dates from 1860. Destroyed by the German troops on August 4, 1944, it was replaced by the current lighthouse in 1946 (first ignition in October 1948). At night, it is locatable thanks to its red light occultations with a white sector. This last color is only visible between Tomé Island and Rouzic Island. The current version was built by Martin and brother (local construction company of the time) according to the plans of architects Henry Auffret and Hardion. The latter had to work with the Beaux Arts to build La Clarté's pink granite tower so that it harmonized with the surrounding environment, classified and protected shortly before the war. The interior mosaics are the work of artist Odorico.

From the lighthouse, there is a direct view of the castle of Costaérès, the island Renote and the archipelago of Sept-Îles.

source : wikipedia

At first glance

what I perceived

wasn't happenstance

fore...

he stood before me

with a smile; radiating

an inner beauty

I never phantomed

I'd have a chance to

behold.

intrigued...

I absorbed his essence;

falling in love with his mind,

as he whispered against me

the beauty of him stole my

heart.

illuminating...

the universe; harmonizing our

allurement of one another.

Ungefähr auf halber Entfernung befinden sich Kormorane auf dem See.

At about medium distance, there are cormorants on the lake.

Der 102,5 ha große Neue Garten liegt im Norden Potsdams am Jungfernsee. Über das Wasser hinweg bestehen gestalterische Verbindungen zu den Gärten von Sacrow, Pfaueninsel, Glienicke und Babelsberg, wodurch er eine zentrale Rolle in der Gartenlandschaft erhält. Trotz Überformung durch Lenné hat er noch sentimentale Einzelpartien aus der Entstehungsphase vor 1800 bewahrt. Seine Geschichte fängt mit dem Ankauf eines zentralen Grundstückes durch den Kronprinzen Friedrich Wilhelm (II.) an. Im Jahre 1787, ein Jahr nach dem Regierungsantritt, begann die Anlage des Neuen Gartens, der seinen Namen programmatisch in der Abkehr vom alten Barockpark Sanssouci erhielt. Als Gestalter wurde der Wörlitzer Gärtner Johann August Eyserbeck verpflichtet, was die Umsetzung der an englischen Gärten orientierten Idealvorstellung Friedrich Wilhelms garantierte. Ungünstig für den einheitlichen Charakter des Gartens war der sich über mehrere Jahre hinziehende Grundstücksankauf. Neben einbezogenen ehemaligen Wohnhäusern entstanden zwischen 1787 und 1792 wichtige neue Bauten im Garten, von denen heute noch viele bestehen: Marmorpalais, Küche in Form einer römischen Tempelruine, Gotische Bibliothek, Schindelhaus, Orangerie, Grotte, Meierei, Pyramide (Eiskeller) und das holländische Etablissement. Vor letzterem verläuft, begleitet von Pyramidenpappeln (seit 1864 Pyramideneichen), ein Musterstück für den preußischen Chausseebau. In der Gartenanlage entstand eine Fülle von Partien unterschiedlicher sentimentaler Prägung, die von den jeweiligen Bauten oder Pflanzungen in ihrem Charakter bestimmt werden. 1816 überarbeitete Peter Joseph Lenné im Auftrag des Thronfolgers den zugewachsenen und unmodern gewordenen Garten. Unter Erhalt vieler Bereiche und Entfernung zu dichter Gehölze bekam der Neue Garten große Sichten und Wiesenräume, gefälligere Wegeführung und vor allem die Blickverbindungen zu den Nachbargärten (Sacrow, Pfaueninsel, Glienicke, Babelsberg, Potsdam, Pfingstberg). Trotz kleinerer Veränderungen zur Kaiserzeit und durch Rücknahme von Einbauten aus der Zeit der russischen Nutzung (1945–1954) hat sich noch immer die von Lenné geplante Grundstruktur bewahrt. Das Schloss Cecilienhof, 1913–1917 für den Kronprinzen erbaut, fügt sich sehr harmonisch ein. Eine 13 ha große Fläche, die 1960-1990 als Grenzgebiet zerstört war, ist inzwischen wieder hergestellt worden.

www.spsg.de/schloesser-gaerten/objekt/neuer-garten

The New Garden, which covers 102.5 hectares, lies at Jungfernsee Lake in the northern part of Potsdam. Creative viewing connections extend across the water to the gardens of Sacrow, Peacock Island, Glienicke and Babelsberg, evidencing the park’s central role in this overall garden landscape. Despite its having been reshaped by Lenné, the garden has nevertheless preserved individual, emotive areas that date from the phase of its creation before 1800. The garden’s history begins with the purchase of a central piece of land by Crown Prince Frederick William (II). In 1787, a year after his ascension to the throne, the laying out of the grounds commenced at the New Garden, the name being programmatic for the abandonment of the old baroque park at Sanssouci. Wörlitz gardener Johann August Eyserbeck was charged with its creation, a decision that ensured a transformation in alignment with Frederick William’s ideals oriented towards English gardens.

What undermined the uniform character of the garden was the fact that it had taken several years to purchase the land. In addition to the former private houses that were included, important new buildings were constructed in the garden between 1787 and 1792, many of which still exist today: the Marble House, the kitchen in the shape of a Roman temple ruins, the Gothic Library, Shingle House, orangery, grotto, dairy, pyramid (ice house) and the Dutch houses. In front of the latter, we find a prime example of Prussian country road construction lined with pyramid-shaped cottonwood poplars (now, since 1864, pyramid-shaped oaks). On the garden grounds, a number of areas were created, whose characters were emotively shaped by the respective buildings or plantings to varying degrees.

In 1816, Peter Joseph Lenné was commissioned by the successor to the throne to rework the overgrown garden, which no longer conformed with the contemporary taste. By preserving many areas while removing copses that had become too dense, the New Garden was provided with new perspectives and meadow spaces, more pleasing pathways and above all, with viewing connections to the neighboring gardens (Sacrow, Peacock Island, Glienicke, Babelsberg, Potsdam, Pfingstberg Hill). Despite the smaller changes made during Imperial times and owing to the removal of installations dating from the time the garden was used by the Russians (1945 –1954), Lenné’s basic structural design has been retained up to this day. Cecilienhof Country House, built for the Crown Prince from 1913 to 1917, harmonizes in this setting. In the meantime, an area of 13 hectares has been restored, which had been destroyed during its use as part of the border zone from 1960 to 1990.

www.spsg.de/en/palaces-gardens/object/new-garden

for bobby.

The Creţulescu church (in Romanian Biserica Creţulescu or Kretzulescu) is an Orthodox church in Bucharest.

It is located on the Calea Victoriei (Avenue of Victory) in the city center, at the corner of the Revoluţiei Square (Revolution Square), at the Royal Palace which houses the National Museum of Romanian Art.

(15 August, the day of the Assumption of Mary). The church was dedicated to Maria Assunta and to the holy archangels Michele and Gabriele.

In 1815 and again in 1859-60 the church was renovated with changes in neoclassical style to harmonize it with the buildings of the square. Changes were made especially to the decorative elements: the outside was plastered and the arcades of the portico were closed, the windows were enlarged, some of the internal columns had been suppressed and the iconostasis was rebuilt.

Between 1933 and 1939 the Commission of Historical Monuments restored the church in its original form by the architect Ştefan Balş: the destroyed decorative elements were restored with original fragments, the towers were rebuilt according to the model of the churches of the time and the frescoes interiors were, as far as possible, restored to the original phase. The plaster was removed and the façade returned to exposed brickwork.

The church was damaged by an earthquake in November 1940 and was repaired in the years 1942-1943. At the beginning of the communist regime it was decided to demolish it, but it was saved thanks to the efforts of architects such as Henriette Delavrancea-Gibory. It was again damaged due to the earthquake of 1977 and the 1989 Revolution.

The church houses an enamelled bronze candlestick made in 1873 in Paris (Barbedienne) and icons from the collection of Emil C. Creţulescu.

On the side of the church there is a monument with the bust of Corneliu Coposu

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La chiesa Crețulescu (in romeno Biserica Crețulescu o Kretzulescu) è una chiesa ortodossa di Bucarest.

Si trova sulla Calea Victoriei (viale della Vittoria) nel centro della città, ad un angolo della piața Revoluției (piazza della Rivoluzione), presso il Palazzo Reale che accoglie il Museo nazionale d'arte rumena.

(15 agosto, giorno dell'Assunzione di Maria). La chiesa venne dedicata a Maria Assunta e ai santi arcangeli Michele e Gabriele.

Nel 1815 e ancora nel 1859-60 la chiesa venne ristrutturata con modifiche in stile neoclassico per armonizzarla con gli edifici della piazza. Si apportarono modifiche soprattutto agli elementi decorativi: venne intonacato l'esterno e chiuse le arcate del portico, le finestre vennero ingrandite, alcune delle colonne interne erano state soppresse e venne rifatta l'iconostasi.

Tra il 1933 e il 1939 la Commissione dei monumenti storici ripristinò la chiesa nelle forme originarie a cura dell'architetto Ștefan Balș: furono ripristinati gli elementi decorativi distrutti con frammenti originali, le torri furono ricostruite secondo il modello delle chiese dell'epoca e gli affreschi interni sono stati, per quanto possibile, ripristinati alla fase originaria. Si tolse l'intonacatura e la facciata ritornò in mattoni a vista.

La chiesa venne danneggiata da un terremoto nel novembre del 1940 e fu riparata negli anni 1942-1943. All'inizio del regime comunista si pensò di demolirla, ma venne salvata grazie agli sforzi di architetti come Henriette Delavrancea-Gibory. Fu nuovamente danneggiata a causa terremoto del 1977 e della Rivoluzione del 1989.

La chiesa ospita un candelabro in bronzo smaltato eseguito nel 1873 a Parigi (Barbedienne) ed icone della collezione di Emil C. Crețulescu.

A lato della chiesa si trova un monumento con il busto di Corneliu Coposu.

waiting to harmonize

#towncarlos1 #xr350carlos1 #2011carlos1 #campuscarlos1

MUNDO NOVO...

- Esta foto foi tomada em 2011, com uma filmadora Sony. Na época descobri que gostava mais de fotografar do que filmar... rsrs! Enfim, esta paisagem hoje se encontra irreconhecível, obviamente, com o verde perdendo, cada vez mais, o lugar e espaço para a selva de pedra humana. Parece-me que isto ocorre desde a época das cavernas. A partir dali, o homem entrou em luta contra a Natureza em vez de se harmonizar com ela...

NEW WORLD...

- This photo was taken in 2011, with a Sony camcorder. At the time I discovered that I liked shooting more than filming ... lol! Anyway, this landscape today is unrecognizable, obviously, with the green losing, more and more, the place and space for the human stone jungle. It seems to me that this has been going on since the time of the caves. From there, man began to fight against Nature instead of harmonizing with it...

On the scene, the composition is what is in this photo. In post processing, I considered cropping both the right and left edges to create a "cleaner" image. problem is I like the water tank and the funny vehicle on the lower right. So, the frame remains as shot.

About Full Measure Brewery: In 1995, Dr. Dennis (Skip) Elmer Jr., newly minted DVM, celebrated his first job as an animal doctor by buying himself a homebrew kit. He brought his homebrewed brown ale to a meeting of the recently formed Downriver Brewers Guild, where he met Mike Bardallis, who had been brewing at home since 1989. Things got progressively more, erm, interesting from that point on. Skip had a years-long run at establishing a horseback safari company in Tanzania, doing a little homebrewing with friends there. Mike supported his homebrew habit by working as an engineer.

In 2003, Skip and Mike met Annette May at the National Homebrewers Conference. Annette, once described as a “walking beer encyclopedia,” was working for B United International at the time, an importer of classic and unusual beers from around the world. Six months later, Annette and Mike were married, and they’ve been living the ‘life of Riley’ since then, plotting and executing all manner of tasty things to eat and drink. These days, Annette is a beer educator, teaching in the Brewing and Distilling program at Schoolcraft College, and working for the Cicerone program, plus many roles in industry organizations. She knows sake, too. As an Advanced Cicerone, she keeps us on our toes.

Mike eventually admitted to himself what he wanted to be when he grew up, starting a new career as a brewer in 2012. (Still hasn’t grown up, though.) Meantime, Skip got interested in distilling, learning many of the finer points of various traditional spirits production techniques. He, too, began thinking about a change in careers…

In 2012, a house fire forced Dr. Elmer to live in a hotel, and eat in restaurants, for six weeks. He found himself spending most nights at Plymouth’s newly-opened Sardine Room, where Chef Mario Maniac’s eclectic and interesting menus kept his spirits up.

Originally hailing from Romania, Mario Maniac is an accomplished chef and restaurateur. His most recent undertaking is the popular French Toast Bistro, with locations in Canton and Northville, which features a French/Cajun inspired menu. He is excited to craft menus built on fresh, seasonal, local ingredients, and designed to harmonize with our diverse range of beers.

Mike the Brewer here, and my Greek surname means roughly, “guy that carries the full measure of grain.” My grandfather emigrated to Detroit from the island of Lesvos, in Greece. Family lore holds that the first of our forebears to settle on the island worked as a longshoreman, and became known as ‘that guy who carries the full measure of grain,’ said measure normally being carried by two. (I come from a long line of short, sturdy folks.) His, and thus our, surname changed to reflect that distinction. These days, I put the full measure of effort, enthusiasm, and care into all of our beers. And, necessarily, I carry a lot of grain around.

Source: Full Measure Brewery Inc Website

www.fullmeasurebrewing.com/about/

Thank you very much to all of you my dear Flickr friends for your so kind comments...!!!

My Wild River Reflection…!!!

Nature in red…!!!

Red flowers, fruits, leaves

Harmonize the 1st chakra (Múládhára chakra)…!!! :)))

Music… Oliver Shanti… Tocar Para Sarakali…!!!

www.youtube.com/watch?v=ASkCpVGTujw

While cycling from Cadzand to Breskens, I paused just beyond the lighthouse. From there, I gazed over the Westerschelde, and the old wooden groynes immediately drew my attention. They seem to direct themselves straight at Vlissingen on the opposite shore — acting as a silent bridge between the two sides.

What I truly appreciate about this photo is something I didn’t notice when I was actually there: the gentle sunrays in the sky. It was only later, when I viewed the picture on my computer, that they became apparent. Subtle yet beautiful — as if nature itself was adding a special touch.

This image resonates with me because it exudes tranquility and balance. The groynes guide your gaze directly into the scene, leading to the skyline. The large cloud overhead appears almost staged, as if it knew exactly where to be. The tiny figures on the beach help provide a sense of scale without overwhelming the composition. It captures one of those quiet moments where everything harmonized perfectly.

Retour sur la Côte belge avec un nouvel album.

Si vous vous promenez dans la réserve naturelle de la Warande, entre Westende et Middelkerke, vous découvrirez désormais cette tour d'observation, sur laquelle vous pourrez même grimper, si le cœur vous en dit ! Conçue par le bureau d'architecture Delobelle, elle a été installée à la place d'un château d'eau, au milieu des dunes.

Les dunes de la Warande sont situées entre Middelkerke et Westende. Il s'agit d'une réserve naturelle remplie d'une grande variété de végétation, dont de larges buissons, différents types de dunes et d'oyats. On trouve également des mares pour les amphibiens dans cette réserve naturelle de 32 hectares. Au milieu de la réserve, il y avait un grand château d'eau inaccessible au public, qui servait de véritable point de repère pour Middelkerke et ses environs. Ce bâtiment vient d'être remplacé par une tour d'observation ouverte au public. Celle-ci propose de pouvoir observer d'en haut la nature avoisinante, mais aussi de pouvoir regarder le paysage côtier et la mer.

Une grande attention a été accordée à l'intégration de la tour dans son environnement. Une telle structure représente en effet un objet étrange dans un environnement naturel protégé.

Afin de minimiser l'impact sur l'environnement naturel, on a utilisé les matériaux de manière sobre et adaptée et on a choisi le moins de matériaux différents possibles. De plus, ces matériaux vieillissent naturellement et s'intègrent bien à la nature. Les couleurs utilisées s'harmonisent elles aussi avec l'environnement naturel.

Le château d'eau a été en grande partie démoli, mais une base de 7 m de haut devait être conservée car les installations techniques fournissent toujours de l’eau potable à Middelkerke. Sur ce robuste socle en pierre, la tour d'observation se développe, comme un fagot de dunes ou d'oyats jouant dans le vent.

Une passerelle en bois droite et massive s'élève lentement et se transforme en passerelle légère, en bois et métal, limitant l'impact au niveau du sol. Le sable et le vent peuvent s'en donner à cœur joie. La passerelle s'enroule alors autour des vestiges du château d'eau et monte jusqu'à une plateforme d'observation située à 7 m de hauteur. Cette plate-forme est accessible aux utilisateurs de fauteuils roulants et aux landaus. Il offre non seulement une vue magnifique sur la réserve naturelle et ses environs, mais également sur un étang artificiel installé sur le "toit" de ce qu'il reste du château d’eau. Cet étang ne fait pas seulement écho à la fonction précédente du bâtiment, mais répète et renforce la mare pour amphibiens déjà existante. Les visiteurs évoluent à proximité de la faune et la flore de la région. Le trop-plein de l'étang a été conçu de manière à servir d’"escalier" entre sol et l'étang. La structure de la tour est composée de tubes métalliques galvanisés et laqués, en référence aux oyats. Cette structure supporte l'escalier en colimaçon, une plateforme de repos et la plateforme panoramique. Sur la plateforme de 20 m de haut, la vision panoramique est exceptionnelle.

Return to the Belgian Coast with a new album.

If you take a walk in the Warande nature reserve, between Westende and Middelkerke, you will now discover this observation tower, on which you can even climb, if you feel like it! Designed by the architectural firm Delobelle, it was installed in place of a water tower, in the middle of the dunes.

The dunes of Warande are located between Middelkerke and Westende. It is a nature reserve filled with a wide variety of vegetation, including large bushes, different types of dunes and marram grass. There are also ponds for amphibians in this 32 hectare nature reserve. In the middle of the reserve, there was a large water tower inaccessible to the public, which served as a real landmark for Middelkerke and its surroundings. This building has just been replaced by an observation tower open to the public. This offers to be able to observe the surrounding nature from above, but also to be able to look at the coastal landscape and the sea.

Much attention has been paid to integrating the tower into its environment. Such a structure indeed represents a strange object in a protected natural environment.

In order to minimize the impact on the natural environment, we used the materials in a sober and appropriate way and we chose as few different materials as possible. In addition, these materials age naturally and blend in well with nature. The colors used also harmonize with the natural environment.

The water tower was largely demolished, but a 7m high base had to be kept as the technical installations still provide drinking water in Middelkerke. On this sturdy stone plinth, the observation tower unfolds like a bundle of dunes or marmosets playing in the wind.

A straight, massive wooden walkway rises slowly and transforms into a lightweight, wood and metal walkway, limiting impact at ground level. The sand and the wind can have a lot of fun. The footbridge then wraps around the remains of the water tower and climbs up to an observation platform located at a height of 7 m. This platform is accessible to wheelchair users and prams. It not only offers a magnificent view of the nature reserve and its surroundings, but also of an artificial pond installed on the "roof" of what remains of the water tower. This pond not only echoes the building's previous function, but repeats and strengthens the already existing amphibian pond. Visitors move in close proximity to the flora and fauna of the region. The pond overflow has been designed to act as a "staircase" between the ground and the pond. The structure of the tower is made up of galvanized and lacquered metal tubes, in reference to the sea marmalade. This structure supports the spiral staircase, a resting platform and the viewing platform. On the 20 m high platform, the panoramic view is exceptional.

Puente del Kursaal, Donostia, Guipúzcoa, España.

Puente de tramos rectos de hormigón armado, recubierto por piedra de Motrico y mármol rosa, con elementos decorativos de estilo modernista. Construido sobre grandes pilares, de donde arrancan las seis características farolas que contienen a esta obra su marcada personalidad.

A comienzos del siglo XX. El ayuntamiento apoya la construcción de un tercer puente sobre el Urumea "en el que se armonicen la solidez y la resistencia con la monumentalidad y belleza del conjunto".

El ingeniero Ribera presentó al Ayuntamiento una importante modificación: el puente de la Zurriola, proyecto inicialmente con arcos, será construido con tramos rectos.

El 14 de Agosto de 1921 numerosísimo público acudió a la inauguración.

El barandado metálico y los obeliscos que hacen de farolas son obra de Victor Arana. Las cuatro esfinges de bronce pertenecen a la reforma de 1993. Tienen 120 metros de largo como el puente de Santa catalina con el que mantiene cierta armonía de líneas y es algo mayor que el Puente de María Cristina, de 100 metros.

Años de realización: 1918-1921

Autor: J.E.RIBERA

Bridge of straight sections of reinforced concrete, covered by motric stone and pink marble, with decorative elements of modernist style. Built on large pillars, from which the six characteristic lanterns that contain this work its marked personality.

At the beginning of the 20th century. The city council supports the construction of a third bridge over the Urumea "in which solidity and resistance are harmonized with the monumentality and beauty of the whole".

Engineer Ribera presented the City Council with an important modification: the Zurriola bridge, initially with arches, will be built with straight sections.

On August 14, 1921, a large audience attended the inauguration.

The metal balustrade and the obelisks that act as lampposts are the work of Victor Arana. The four bronze sphinxes belong to the 1993 reform. They are 120 meters long, like the Santa Catalina bridge, with which it maintains a certain harmony of lines and is somewhat larger than the María Cristina Bridge, which is 100 meters long.

Years of realization: 1918-1921

Author: J.E.RIBERA

Ceramic tiles harmonize the modern concrete effect with the surroundings.

Created for

All work completed in Photoshop Beta PS25

Designed by Melbourne architect Allan Powell, the TarraWarra Museum has no unnecessary embellishments and uses materials that harmonize with the striking landscape.

** This image is included in "Yarra Glen" gallery by Tourism Victoria.

** This image has been used by Gabrielle di Stefano in Houzz online magazine in April 2013.

www.houzz.com/ideabooks/9050444/list/Travel-Guide--Melbou...

In explore September 26, 2024.

Nags Head, Outer Banks, North Carolina.

The sky's azure canvas hosts an ethereal dance of clouds, harmonizing with a celestial tune carried by a gentle breeze. The Bodie Island Lighthouse, a stoic guardian, cuts through the dance with its luminous beacon, creating a symphony of colors in the night sky. The lighthouse, a conductor in this celestial performance, directs graceful cloud movements, casting an otherworldly glow. Together, they craft a magical tableau, merging celestial and earthly elements beneath the starlit expanse - Courtesy Chat GPT

A group of singers performing live on stage, each holding a microphone and harmonizing together. The image captures the energy of a collective musical expression.

[5] - South Colonnade: South to North view.

1st row, in the foreground: the columns of the south flank.

To right, behind the south colonnade, one of the seven columns that divided the cell into two naves and a overturned capital on the ground.

3rd row, the columns of the north flank of the temple.

In the background the columns of the temple of "Hera II", known as the Poseidon temple.

The image points out the narrowing of the diameter of the shaft of the columns vs. the height, and the aesthetic effect of the "entasis" capable of harmonizing the vertical development of the columns.

Source: Sarantis Symeonoglou, “The Doric Temples of Paestum ”

Archaic Doric temple

Ca. 550 BC

Temple of “Hera I”

Paestum, Archaeological site

Making sweet music using flickr (like zoom) to harmonize and keep safe at the same time. Even animals are finding ways to carrying on doing the things they used to enjoy with their friends but before covid-19.

Created with fd's Flickr Toys

#smileonsaturday #redonwhitebackground

Great theme for the upcoming smile on saturday photographers! We are supposed to share something that is mixed with red and white. Preffered with a white background

I decided to participate with this red muffin cups. Placed on a white XXL papersheet! The white stars on the muffin cups harmonize in my horrible opinion very well with the overall picture. Gives it kinda puristic look.

Thank you for visits, comments and favs!

Vielen Dank für Eure Besuche, Kommentare und Sternchen!

Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved

© All rights reserved

The rugged, textured surface of the Redrock Mountains outside Las Vegas, Nevada, is enhanced by the low, morning sun and seems to harmonize with the tangled Joshua Tree in the foreground.

I used focus-shooting (4 shots) to maintain focus of the foreground and background.

We decided to partake in the ceremony of hanging the prayer flags we made in Paro at the Kikila Pass (2700m) in Bhutan. The prayer flags were carefully unfurled, with each panel representing prayers and blessings in line with a long-standing tradition. The Kikila Pass served as a symbolic gateway, connecting the earthly and divine realms and bridging the gap between the material and the spiritual. We securely fastened the prayer flags to nearby trees and posts, utilizing them as channels for positive energy and blessings – Kikila Pass, Bumthang, Bhutan

Berlin, Fischerinsel

Apollonio di Giovanni (Florence, 1415 or 1417 - 1465) the Trinity and Saints Cosmas and Damian, Francis of Assisi, Sebastian and Julian - in the predella Annunciation (1450-1460) - Galleria dell'Accademia, Florence

Apollonio di Giovanni in quest opera armonizza la salda resa plastica e spaziale di cultura rinascimentale, con elementi piu' arcaizzanti come il fondo oro e le aureole piatte.

Apollonio di Giovanni in this work harmonizes the firm plastic and spatial rendering of Renaissance culture, with more archaic elements such as the gold background and the flat halos.

it.wikipedia.org/wiki/Apollonio_di_Giovanni

en.wikipedia.org/wiki/Apollonio_di_Giovanni_di_Tommaso

Guilin is a prefecture-level city located in the northeastern part of the Guangxi Zhuang Autonomous Region in southern China, renowned worldwide for its stunning karst systems. Situated on the west bank of the Li River, which flows through the city and serves as a central scenic artery, Guilin encompasses an area of approximately 27,800 square kilometers and is bordered by Hunan Province to the north. As of 2023, the city's total population stands at about 4.95 million, with around 1.2 million residents in its urban core, making it a significant regional hub. The city's geography is dominated by a tropical karst landform, characterized by tower-like peaks, depressions, and underground waterways formed over millions of years through dissolution processes, with the Li River cruise being one of its most iconic attractions. Guilin experiences a monsoon-influenced humid subtropical climate (Köppen Cfa), with mild, short winters averaging 7–10°C (45–50°F), hot and humid summers reaching 28–35°C (82–95°F), and annual precipitation exceeding 1,900 mm (75 inches), primarily during the rainy season from May to August. Administratively, Guilin governs six urban districts, eight counties, two autonomous counties, and one county-level city, reflecting its blend of Han Chinese and Zhuang ethnic influences in a diverse cultural mosaic. Historically, Guilin traces its origins to the Qin Dynasty in the 3rd century BCE, when it was established as a strategic military outpost and transportation center, highlighted by the construction of the ancient Lingqu Canal in 214 BCE to connect the Xiang and Li River systems. Archaeological evidence suggests human settlement in the area dating back over 7,000 years, evolving into a key political and cultural center in Guangxi by the Tang Dynasty (618–907 CE), with its name—meaning "forest of sweet osmanthus"—derived from the abundance of fragrant osmanthus trees. Throughout imperial China, Guilin served as a vital trade route linking southern frontiers to the Yangtze River basin, fostering a rich literary and artistic tradition inspired by its ethereal scenery, often immortalized in classical poetry and paintings. Economically, Guilin is a pillar of Guangxi's development, with tourism as its cornerstone industry, attracting over 100 million visitors annually pre-pandemic and generating substantial revenue through scenic sites like the Elephant Trunk Hill, Reed Flute Cave, and Longji Rice Terraces. The sector contributes significantly to local GDP, supported by agriculture—particularly rice, tea, and subtropical fruits—and emerging industries such as electronics, pharmaceuticals, and eco-tourism integration with rural revitalization efforts. In 2024, foreign trade reached 11.39 billion yuan (about $1.6 billion USD), underscoring Guilin's growing role in international commerce while balancing environmental preservation of its UNESCO-recognized karst heritage. As China's inaugural "world-class tourism city," Guilin continues to emphasize sustainable development, harmonizing its natural splendor with modern infrastructure to promote cultural exchange and economic resilience.

Guilin is situated in the northeastern part of the Guangxi Zhuang Autonomous Region in southern China, at approximately 25°16′N 110°17′E. The prefecture-level city encompasses a total area of about 27,800 square kilometers, encompassing both urban and expansive rural landscapes. It borders Hunan Province to the north and northeast, as well as several other administrative divisions within Guangxi, including Hezhou to the southeast, Wuzhou and Laibin to the south, and Liuzhou to the southwest. The region's terrain is dominated by a distinctive karst landscape, characterized by isolated limestone peaks, deep caves, and winding rivers that have shaped its physical identity. This tower karst (known locally as fenglin) features over 3,000 sharply rising hills, many covered in lush subtropical vegetation, rising abruptly from flat plains and river valleys. Iconic formations include Elephant Trunk Hill, a prominent peak resembling an elephant sipping from the Li River, and Folded Brocade Hill, noted for its layered, colorful rock strata that evoke folded silk. The Li River, a major waterway flowing through the area, meanders among these peaks, creating scenic corridors that highlight the interplay of water and stone, while numerous caves—such as those in the surrounding hills—add to the subterranean complexity. Geologically, Guilin's karst features originated from a thick succession of Upper Devonian to Lower Carboniferous limestones, up to 3,000 meters deep, deposited in a ancient platform environment. Over millions of years, particularly the last 40 million, tectonic uplift combined with dissolution by rainwater and flowing rivers eroded the soluble carbonate rocks, sculpting the dramatic peaks and forming the end-stage karst evolution seen today. This process has resulted in a landscape where urban development in Guilin city occupies the relatively flat Lijiang River basin, while rural outskirts extend into more rugged, hill-dotted expanses.

Guilin experiences a humid subtropical climate classified under the Köppen system as Cfa, characterized by hot, humid summers and mild, damp winters. The average annual temperature is 19.4°C, with July marking the warmest month at an average of 28.6°C and January the coolest at 8.9°C. This temperature regime supports a growing season that spans most of the year, influencing both local agriculture and the influx of tourists seeking comfortable outdoor activities. Annual precipitation totals approximately 1,900 mm, predominantly occurring during the summer rainy season from June to August, when heavy downpours contribute over half of the yearly total. Fog and mist are prevalent, particularly in the karst landscapes, often shrouding the hills and rivers in a characteristic haze that enhances Guilin's scenic allure. These conditions result from the interplay of monsoon winds and the region's topography, leading to high humidity levels averaging 70-80% throughout the year. Historical climate records from 1951 to 2020 indicate a warming trend, with average temperatures rising by 0.5–1°C since the 1980s, attributable to global warming patterns observed across China. Extreme weather events punctuate this climate, including influences from typhoons that channel heavy rainfall inland from the South China Sea. Notable floods, such as the 1998 event that severely impacted the Li River basin, caused widespread inundation and disruption, while rare snowfalls occasionally occur in winter, adding to the variability of seasonal conditions.

from Grokipedia

Photo captured via Minolta MD Tele Rokkor -X 200mm F/4 Lens alongside State Route 155, the Coulee Corridor National Scenic Byway. Grand Coulee Recreation Area. Devils Punch Bowl Area. Upper Grand Coulee Area. Columbia Plateau Region. Grant County, Washington. Late March 2018.

Exposure Time: 8 sec. * ISO Speed: ISO-100 * Aperture: F/8 * Bracketing: None * Filter: Vü Sion Filter ND-10 * Color Temperature: 3359 K * Film Plug-In: Fuji Velvia 100

*Truly have a passion for unique landscape and thought provoking shots?? Please be sure to check out my partner Slick 406's work at: www.flickr.com/photos/156943980@N03