I found myself thinking about the differences between photographing with black and white film versus with color film. Over the years I have shifted more toward the use of b&w film. Whereas a decade ago I was probably 75-25 in favor of color, these days it is probably closer to a 50-50 split.

I suppose I could say there are several reasons why I enjoy using black and white film. Part of it is always going to be the fact that I see in color and therefore black and white film sees a different world than I am able to. I appreciate that. But I also that by stripping out the color in an image, or looking past the color I should say, the attention that gets paid to what remains is pleasing. I like noticing scale and texture, or light and shadow. I like the sense of timelessness that comes with b&w.

But I really think it is about the simpler nature of b&w, which is not the same as saying it is simple. It is anything but really. But the world does become a bit simpler in some way I struggle to describe when viewed in shades of gray. It is quieter too in a sense. Or... I dunno, maybe more peaceful. Color is so often louder. Not that contrast cannot be equally loud, but at least a contrasty b&w image only has one loud voice clamoring for attention.

Anyway, I was browsing through my images curating a selection for a project and this image of Comet Falls jumped out at me because I had this train of thoughts on repeat in the background of my brain. This image harmonized with those thoughts and in its own ways demonstrates some of the qualities I love about b&w film.

Hasselblad 500C

Kodak Tri-X

song recorded on August 26, 1973

Neil Young, long one of the most outspoken figures in rock, launched a broadside against President Trump on Wednesday through a new song that decries “fascists” and includes the line, “There’s big crime in D.C. at the White House.”

The new song, “Big Crime,” debuted at a tour stop in Chicago, where Mr. Young performed with his latest band, the Chrome Hearts

The new song does not mention Mr. Trump by name, but its target is unmistakable. The song opens with the line “No more great again,” adds “Don’t want soldiers on our streets” and “No more money to the fascists / The billionaire fascists” before returning to a harmonized refrain, “There’s big crime in D.C. at the White House.” - NYTimes, 8/28/2925

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

K-Iri is a duet of two singers, two voices harmonizing around their two favourite instruments, an acoustic guitar and a violin. The two young women, Sarah-Judith Kayiri from Burkina Faso and Iri Dimako from Ethiopia, met in Montreal in 2015. Kayiri and Iri blend their West African, Ethiopian and North American cultures. On the photo is Sarah-Judith Kayiri.

32. TMR 2019-04 July, P1220158, Kayiri and Iri (K-Iri) (FIJM 2019 day 8-No 32); Uploaded 02. October 2019.

Excerpt from the plaque:

Container #5 and Container #3 by Joiri Minaya: Containers is a series of photographs in which Minaya wears bodysuits with tropical prints and interacts with landscapes that seem natural but are manufactured, echoing the constructed aspect of her fabric encasings. The series reflects on how femininity is constructed in male gaze that demands leisure and pleasure, and tends to be foreign and patriarchal. Minaya was forced to adopt the pose dictated by the shape in which the bodysuit is sewn. These poses were created in response to images found by the artist during a Google search for “Dominican women”. Examining the performativity of these poses, we see that Minaya`s Containers recall art historical tropes and the conventions of ethnographic photography, which in turn evolved into photographing people for tourism marketing, again casting individuals as available for Western consumption. This series raises critical dialogues about visual traditions – painting, photography, and advertisement – and through Minaya`s work she reflects upon the action of inhabiting these pre-conceived roles in order to sabotage them.

Photographed in the National Botanical Gardens of Santo Domingo, Container #5 evokes the façade of wilderness, exposed through the slivers of concrete floor where the artist stands. In this photograph, natural sunlight appears controlled like studio lighting, an effect that emphasizes the contrast between nature and construction. The bodysuit, which features palm leaves, a pattern associated with jungles that harmonize with foliage in the background. With hands sewn to the thighs, this bodysuit forces the artist to be in an awkward pose – partially but not fully standing. Yet the artist looks down upon us with a gaze that is assertive.

If travel is searching

And home has been found

I'm not stopping

I'm going hunting

I'm the hunter

I'll bring back the goods

But I don't know when

I thought I could organize freedom

How Scandinavian of me

~en-cha-le-li~

~en-cha-le~

You sussed it out, didn't you ?

yeah!

You could smell it

So you left me on my own

To complete the mission

Now I'm leaving it all behind

I'm Going hunting

I'm the hunter, I'm the hunter

I'm going hunting

I'm the hunter Ooooohhh... I'm the hunter

I'm the hunter Ooooohhh... I'm the hunter

I'm ... the ... hunter...

Ooooohhh... Ooooohhh... Ooooohhh... Ooooohhh...

(Hunter- Björk)

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

Thai Seafood Spaghetti

The flavours were rich and delicate, like all great Thai cuisine here at Café de Palm. It was slightly sweet and quite spicy, harmonizing wonderfully with the shrimp, mussels and clams. Lots of garlic was used, and the black olives were a pleasing touch.

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

SCUBA diving is sensual. To breathe underwater is one of the most fascinating and peculiar sensations imaginable. Breathing becomes a rhythmic melody of inhalations and exhalations. The cracks and pops of fish and crustaceans harmonize with the rhythmic chiming of the bubbles as you exhale. Soon, lungs act as bellows, controlling your buoyancy as you achieve weightlessness. And, as in your dreams, you are flying. Combine these otherworldly stimuli and you surrender completely to the sanctuary of the underwater world.

TEC CLARK, forward, Karen Berger's Scuba Diving

© All rights reserved.

december09 - second advent.

520/ 105 / 310 / 1 gallery

Like dancers in some new dance, you each have your own motions, and though they may harmonize with the rest, they do not copy them.

This is one of the mistakes you keep making - that you expect a chorus line like the Rockettes.

Those times are past.

I believe you will find that you do.

~Jane Roberts channeled by G ~

Feng Shui is an ancient Chinese art of using placement to harmonize energy and create good luck. It can be applied to virtually anything, from cities, buildings and parks, right down to where you place the couch in your living room. I used to scoff at such notions, but as with many things, I've come to take it more seriously as time goes by. For ancient rituals to persists so long into the modern era, I can't help but wonder if there isn't some kernel of truth in the old wisdom. I find this the case with ancient health remedies and even astrology and numerology. I don't live by these things but I also don't discount them. Anyway Feng Shui is really something worth reading up on, and perhaps even reviewing the layout of your house (and the objects contained therein) just to see if there are any problem areas. For me it's not so much about creating good luck rather eliminating sources of bad luck or misfortune. Could be you just need to rearrange a few things or change the color of your front door. Other times the fix may not be quite as easy. One tenet of Feng Shui that has stayed with me all these years is the conflicts that a when a house sits astride a T intersection as in the case of this photo. Here the intersecting road faces directly toward the house. The presents a continuous flow of bad energy toward the house and its occupants. Take note of this as you drive around; you may find that such house (or other buildings) are problematic. Sometimes they have a high turnover rate, continually attract hard luck dwellers, or house businesses that tend to be unsuccessful. It's not an automatic out; I'm sure other forces are at play, and perhaps some people have personalities that magnify the problem will others minimize it. Certainly the bad energy can be mitigated. Sometimes simply hanging a crystal in the front-facing window can deflect the bad energy. Not sure abut any of that. But I do watch for buildings located at the top of T intersections, and pretty sure I would not purchase one. This shadowy and moody house seems to be badly in need of a window crystal. I captured this from a moving vehicle as part of my rural "drive-by shooting" series. As I've noted in prior posts, these completely random compositions sometimes turn up very dark places. Perhaps they are channeling the bad Shui.

The Mahkama du Pacha, a parliamentary building that not only houses the court of justice but also serves as a reception area for state occasions.

The main problem with the Mahkama du Pacha as a tourist attraction is that, because it is in regular use, it can be difficult or impossible to gain access to the interiors of the building. Still, it is a great place to make a stop and take a few pictures as the building features some impressive architecture. Apparently construction of the Mahkama du Pacha commenced in 1948 and ended in 1952, and the architectural style of the building shows strong Moorish influences. The name of the building can be loosely translated as ‘Pasha’s courthouse’, which is appropriate considering the function of the building. If you are fortunate enough to gain entry, you will discover a wonderful variety of rich furnishings and finishes. The ceiling is made of carved cedar wood that harmonizes perfectly with the chiseled stucco and polychrome mosaics which can be found decorating the interiors. There are also white, marble columns and rigid geometric designs which add the finishing touches to an already unimaginably graceful interior.

Clearly, such a well designed, built and finished building is ideal for use as a state reception room and a court of justice. The building is also sometimes referred to as the ‘Prefecture of Habouss’ and it is definitely worth viewing – even if only from the outside.

From www.morocco.com/attractions/mahkama-du-pacha

Excerpt from www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=9727:

Sited in a landscaped garden amongst mature trees in a residential Gravenhurst neighbourhood, Bethune House is an attractive L-shaped, timber structure. Its gable roof is steeply pitched, while the clapboard exterior features bay windows, ornamental verge boards and a verandah. The designation is confined to the footprint of the building.

Bethune House is a Recognized Federal Heritage Building because of its historical associations, and its architectural and environmental values.

Bethune House is very closely associated with the early life of Dr. Norman Bethune in Canada. His birthplace acts as a memorial to his career and is a monument to social justice and human welfare, convictions held by Dr Norman Bethune. An internationally renowned figure, he became a strenuous advocate of socialized, easily available medical care. His achievements include several developments in the treatment of tuberculosis and in thoracic surgery, refinements in medical instruments, and the first practical use of a mobile blood transfusion unit.

Bethune House is a good example of a typical middle-class residence found throughout Canada in the late 19th century. The influence of the picturesque is seen in the steeply pitched roof, the vertical emphasis of the massing and its asymmetrical plan. It exhibits good functional design and craftsmanship.

Bethune House is compatible with the present character of its residential setting and is familiar to those visiting the region.

The character-defining elements of Bethune House should be respected.

Its good quality materials and craftsmanship, as evidenced in:

- the two-storey, asymmetrical, L-shaped plan;

- the steeply-pitched gable roof, the ornamental verge-boards and the brick chimneys;

- the clapboard exterior walls, the symmetrical arrangement of the windows, the bay windows and the verandah;

- the centre hall plan with informal layout of rooms and the interior details.

The manner in which Bethune House is compatible with the present character of the residential setting and is a familiar local landmark, as evidenced by:

- its overall picturesque appearance which complements the landscaped grounds and harmonizes with the residential structures on John Street;

- its role as an interpretive memorial that make it familiar to the community.

A long-distance Mongolian passenger train winds its way up the iconic Khoolt Pass — a key section of the Trans-Mongolian Railway through the central steppes. With its sweeping curve and vibrant turquoise coaches, the train harmonizes beautifully with the rolling green hills that define this region.

📍 Khoolt Pass, Central Mongolia

🚆 Mongolian Railways (УБТЗ)

Photo by Yalalt | Mongoliantrainspots

Summer 20244

Acropoli - Propilei.

Qui cominciamo ad assaporare la vera bellezza dell’Acropoli. Sono l’ingresso monumentale alla spianata ed erano formati da un atrio centrale con due ali ai lati: Pinacoteca a sinistra e portico a destra.

Il corpo centrale prevedeva all’esterno 6 colonne doriche altissime simili a quelle del Partenone e all’interno altre colonne ma ioniche.

Il progettista, Mnesicle, riuscì quindi ad armonizzare questi due stili architettonici.

Acropolis - Propylaea.

Here we begin to savor the true beauty of the Acropolis. They are the monumental entrance to the esplanade and were made up of a central atrium with two wings on the sides: the art gallery on the left and the portico on the right.

The central body had 6 very high Doric columns on the outside similar to those of the Parthenon and other Ionic columns on the inside.

The designer, Mnesicle, therefore managed to harmonize these two architectural styles.

_MG_3211m

Museum of Ethnography Budapest Hungary

Architects: NAPUR Architect

Area : 34000 m²

The new building of the Museum of Ethnography in Budapest City Park (Városliget) was opened 2022. The award-winning new museum building – which is part of Europe’s largest urban-cultural development called Liget Budapest Project has dynamic yet simple lines simultaneously harmonized with the park environment and communicating with the surrounding urban area.

The collection, which comprises 250.000 items from the Carpathian Basin and from every corner of the world, has been hosted by various facilities since its establishment in 1872, but never in its history did it operate in a building designed specifically to cater to its needs. The project was one of over 1700 entries from 115 countries. According to the decision of an international jury, the competition was won by the Hungarian architectural studio, Napur Architect (beating leading world-class architect studios such as Zaha Hadid, BIG), whose building is distinguished by a dynamic yet simple design harmonized with the natural environment of the park while communicating with the urban texture of its surroundings. The gently curving lines enable the building to function as a gateway and a passage linking the city and the park. Sixty percent of the structure is under ground level, and thanks to the landscaped roof and the transparency of the sections over the ground, the new museum is adapted to its environment in its scale too. The grass-covered roof area will be a pleasant community space awaiting visitors to Városliget.

The spectacular trademark of the building is the glass curtain wall surrounding the landscaped roof garden, reminiscent of two intertwined hillsides, with a unique characteristic, consisting of nearly half a million pixels, a raster made by metal grid based on ethnographic motifs selected from the museum's Hungarian and international collections.

The new functions and flexible spaces of the modern and state-of-the-art museum building will facilitate the understanding of the historical heritage embodied by the collection as well as the various aspects of contemporary society. Besides passing down this historical heritage, the realization of more recent professional and research themes and perspectives continues to be among the priority objectives of the museum, as confirmed by its mission. The creatively built spaces will open up new opportunities to communicate with visitors, enabling the presentation of the everyday objects, phenomena, and ideas of the past and the present side by side.

Excerpt from the Information Poster:

Designed by Robert McCausland who was known for producing stained glass windows in the English style: Windows radiating light in colour and harmonized with the architecture of their setting.

Combines the Victorian love of naturalism and symbolism with modern views of Toronto to portray its roots, continuity and traditions.

Represents the union of Commerce and Industry and symbolizes the growth and progress of Toronto.

McCausland used sunrays which were on many Toronto homes from the same time period.

In the centre panel is the City of Toronto's coat of arms with the motto: Industry; Integrity; Intelligence.

This is just for fun. I saw this wall of tiles with a black TV screen in the middle of the British Airways lounge at JFK airport. I loved the graphic look of the tiles. The variety of colors harmonized so well together. But that black screen in the middle was a killer until I thought about featuring some of my own photos in the middle.

So here's the first of the JFK tiles series featuring the arches of Maulbronn Monastery. (original). Please press "L" to get the best view.

more New York

Pentax K-1 II - HD Pentax-DA 35mm F2.8 Macro Limited

(IMGP1232ec2a16)

Sylt is always very stylish - Even a cow in the pasture can harmonize with a lighthouse :-)))

By now everyone knows that I like colour. (Also love B&W.) This scene offered me some great colours to work from.I took my time in both composing and in processing this one.

The sand in the foreground harmonizes nicely with the trees in full Autumnal colour and is important in the composition in my opinion . Important for me, but maybe not for others is the old barn in the distance framed by the red arch. The puddle, with the leaf is an important element as it is different. I have certainly spent time photographing the spray park in the past, but this i likely my favourite capture of the area.

Two clicks to the best detail :)

Hatred paralyzes life; love releases it. Hatred confuses life; love harmonizes it. Hatred darkens life; love illuminates it.

- Martin Luther King Jr.

Brad McGinley, Cooper the Wonder Dog and I went out Friday night to shoot the Calhan Paint Mines once again. I honestly don’t know why we don’t spend more time in this wonderful location. It can be a bit challenging to shoot, depending on conditions, but the reward for creativity and determination is large. We began this night in the dark as the third quarter moon was not scheduled to rise until 1AM. Apprehension of the cloudy skies cleared up as the sky turned to perfection and remained that way through the night.

Knowing that for the first part of our night there would be minimal light we armed ourselves with all the lights we could carry and headed out. We explored new sections of the mine in search of different comps and perspectives and after a bit decided this comp held interest and set up for the first shoot of the night.

We tried several techniques with various light sources which worked to a point, but it wasn’t until we took Brad’s camping lantern and placed it in the scene to provide some localized lighting did we find the key to lighting the scene. This photography is made up of 5 separate light placements (including one behind us). Each of the 5 light locations was shot several times varying ISO and shutter speed to minimize hot spots and noise. In the sky, Sirius and Orion are accompanied by the Milky Way and just the right amount of light pollution from nearby Colorado Springs and sparse cloud placement to harmonize the scene.

Look forward to more shots from this night in the near future. As always, any feedback you’re willing to leave on things you like or see room for improvement are always appreciated.

UNA GIORNATA UGGIOSA.

Piazza della Libertà sorge ai piedi del Castello di Udine ed costituita da un gruppo di palazzi in stile rinascimentale che si armonizzano perfettamente tra loro, splendidi nelle loro forme di chiara matrice veneta.

Tanti sono gli edifici che si affacciano sulla Piazza e che potrete ammirare in tutta la loro bellezza, tutti meritano attenzione perché davvero sono uno più bello dell’altro:

la quattrocentesca Loggia del Lionello, affascinante nel suo stile gotico-veneziano i cui lavori iniziarono nel 1448 su progetto dell’orafo Nicolò Lionello;

la Torre dell’orologio, opera di Giovanni da Udine, con le due statue dei mori che scandiscono il tempo;

l’arco Bollani, disegnato da Palladio, che presenta sulla sua sommità un Leone Marciano.

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A HARD DAY.

Piazza della Libertà rises at the foot of the Castle of Udine and consists of a group of Renaissance-style buildings that harmonize perfectly with each other, splendid in their forms of clear Venetian origin.

There are many buildings that overlook the square and that you can admire in all their beauty, all of them deserve attention because they are truly one more beautiful than the other:

the fifteenth-century Loggia del Lionello, fascinating in its Gothic-Venetian style whose works began in 1448 on a project by the goldsmith Nicolò Lionello;

the Clock Tower, the work of Giovanni da Udine, with the two statues of the Moors that mark the time;

the Bollani arch, designed by Palladio, which features a Marcian Lion on its top.

CANON EOS 600D con ob. SIGMA 10-20 f./4-5,6 EX DC HSM

“Buckminster Fuller explained to me once that because our world is constructed from geometric relations like the Golden Ratio or the Fibonacci Series, by thinking about geometry all the time, you could organize and harmonize your life with the structure of the world.”

~ Einar Thorsteinn

Germany, Hamburg, "Planten un Blomen" is an approximately 47 hectare park in the centre of Hamburg.

The name "Planten un Blomen" is in the North German dialect & it means “Plants & Flowers”. The founder & first director of the botanical garden in the Hamburg walls, Johann G. C. Lehmann, planted a plane tree in November 1821, the first tree in the park. The tree is located still today at the Dammtor train station entrance between the large tropical glasshouse & the Congress Centre, the tree is a natural symbol representing the beginnings of the gardens.

The park is a popular destination for the inhabitants in the Hamburg metropolitan area & tourists; it is part of a green zone that stretches horizontally through the whole nearly 2 million city down to the harbour.

The park is famous for its water-light concerts, public theatre & music performances. In addition to the gardens, there is a large playground in the southern park area; the park is open all year round there is no entrance fee.

📌...From May to September, the water-light concerts are presented daily at 10 pm with a bi-weekly changing 30 minutes program. The fountain & lighting is operated by three technicians during the show & tuned to harmonize with the music. Every evening several hundreds of people, with or without a picnic, sit on the lawns around the lake to watch the intense spectacle...unless it rains, the water games still take place.

👉 One World one Dream,

🙏...Danke, Xièxie 谢谢, Thanks, Gracias, Merci, Grazie, Obrigado, Arigatô, Dhanyavad, Chokrane to you & over

17 million visits in my photostream with countless motivating comments

UN PO' DI FRESCO SOTTO GLI ALBERI

Entrata a far parte nel 2007 dell’Associazione Ville Venete, Villa Varda, con il suo splendido parco, è un sito di pregio storico, architettonico e ambientale. Costruito nella seconda metà del XV secolo dai nobili Mazzoleni nella frazione di San Cassiano di Livenza, l’edificio presenta linee architettoniche eleganti che ben armonizzano con gli scorci paesaggistici e suggestivi del parco, sia durante la stagione invernale che primaverile.

Oggi di proprietà della regione Friuli Venezia Giulia, la villa è un vero e proprio rifugio, un’oasi verde che estendendosi per diciotto ettari fino a lambire il fiume Livenza, offre al visitatore un’immagine complessiva di grande fascino.

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A LITTLE COOL UNDER THE TREES

Joined in 2007 by the Associazione Ville Venete, Villa Varda, with its splendid park, is a site of historical, architectural and environmental value. Built in the second half of the 15th century by the Mazzoleni nobles in the hamlet of San Cassiano di Livenza, the building has elegant architectural lines that harmonize well with the landscape and suggestive views of the park, both during the winter and spring seasons.

Today owned by the Friuli Venezia Giulia region, the villa is a real refuge, a green oasis which, extending for eighteen hectares up to the edge of the Livenza river, offers the visitor an overall image of great charm.

CANON EOS 600D con ob. SIGMA 10-20 f./4-5,6 EX DC HSM

Rat snakes (or ratsnakes) are members – along with kingsnakes, milk snakes, vine snakes and indigo snakes – of the subfamily Colubrinae of the family Colubridae. They are medium to large constrictors and are found throughout much of the Northern Hemisphere. They feed primarily on rodents and birds. With some species exceeding 3 m (10 ft) in total length, they can occupy top levels of some food chains. Many species make attractive and docile pets and one, the corn snake, is one of the most popular reptile pets in the world.[citation needed] Other species can be very skittish and sometimes aggressive, but bites are rarely serious. Like nearly all colubrids, rat snakes pose no threat to humans. Rat snakes were long thought to be completely nonvenomous, but recent studies have shown that some Old World species do possess small amounts of venom (so small as to be negligible to humans).[citation needed]

Previously, most rat snakes were assigned to the genus Elaphe, but many have been since renamed following mitochondrial DNA analysis performed in 2002. For the purpose of this article, names will be harmonized with the TIGR Database[clarification needed].

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

Oh, the delightful chaos of the Garden Hideaway! The ambiance is set by a flickering candle, casting enchanting shadows upon the pristine white tiles, harmonizing with the sun's final rays slipping through the French doors. Pasta strewn across the countertop, a delicious mess still too hot to handle, mingling with the aromas of dried herbs and freshly ground pepper.

Amidst this culinary whirlwind, there's only one antidote – a splendid mac and cheese feast awaiting in the tranquil courtyard. The anticipation builds as you prepare to savor this humble yet extraordinary moment beneath the vast, open sky, where flavors blend with nostalgia, creating a symphony of taste and memory.

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Credits

∘ Dead Unicorn

Dead Unicorn - Garden Hideaway

Dead Unicorn - Spice Grinder Set (Discontinued)

∘ Dust Bunny

dust bunny . mac & cheese vibes (various items)

dust bunny . shirley kitchen (various items)

dust bunny . kitchen clutter . cutting boards

dust bunny . kitchen clutter . potted herbs - basil, parsley, rosemary

dust bunny . kitchen clutter . paper towels

∘ Spruce

.spruce. happy clocks {sage}

.spruce. grandma's recipe tin {shrooms 2}

.spruce. field guide posters {vegetables}

.spruce. let's get cozy candle {gift}

∘ Your Dreams

{YD} Derry Kitchen - Dish rack

{YD} Derry Kitchen - Fruit Basket

{YD} Derry Kitchen - Plant Jars

∘ Vespertine

{vespertine} - basket of fresh veggies. / rezzable decor

{vespertine} - chia pets. / hedgehog

{vespertine} - vintage enamel hanging fruit baskets.

{vespertine} - barn utensil jar

{vespertine} - potted hyacinth centerpiece / tricolor

{vespertine} - woodland cup hanger. (deconstructed)

∘ InsurreKtion

[IK] Grandma Kitchen Deco Set 2 - Spice Rack

[IK] Grandma Kitchen Deco Set 2 - Baking Molds

∘ Nutmeg

Nutmeg. Handmade Shelf w/Bag

Nutmeg. Casserole White

Nutmeg. Cloth Plaid

∘ Misc.

Pitaya - DIY kitchen Countertop

BROKEN ARROWS - Farm Kitchen II - Cow Shelf (White)

-Tres Blah- Kitchen Basics - Shelf (Green)

FINCA - Moka Coffee Set White

HYBYCOZO is a collaborative installation arts collective made up of Serge Beaulieu and Yelena Filipchuk. Their work consists of larger than life sculptures with laser cut patterns that draw on inspirations from mathematics, science, and natural influences. Their passion stems from one core impulse: to celebrate the inherent beauty of geometric form and pattern, and showcase them in ways that harmonizes the experience of sculpture, light, and shadow.

Source: www.torontolightfest.com/theartists

It's a windy night

Of first and main

Of any city

Of a hundred names

Spirits fly high and the sparks fly low

And the cats are all creeping out the back door slow

And the cats are out, gonna harmonize

They're headed for Cool Street on the main line

And here comes that Joe Serpentine

The life of a cat can leave you far behind ...

(Cats whithout claws )

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.

This was also a pickup shot, and it worked quite well for me. When you look at the video you will understand how it works.

This is a frame capture from HD video using the Motorola Moto g fast phone. To see the video, click on the link below to my YouTube channel:

www.youtube.com/watch?v=CAuOisX6P3s

The Rainbow Bridge (レインボーブリッジ Reinbō Burijji) is a suspension bridge crossing northern Tokyo Bay between Shibaura Pier and the Odaiba waterfront development in Minato, Tokyo, Japan.

The towers supporting the bridge are white in color, designed to harmonize with the skyline of central Tokyo seen from Odaiba. There are lamps placed on the wires supporting the bridge, which are illuminated into three different colors, red, white and green every night using solar energy obtained during the day.

Tough times build resilience.

Harmonize your peace.

While working on my Brussels series, I visited the Pannenhuis metro station—an unexpectedly cinematic location. The sharp, direct overhead light sliced through the platform like a spotlight, highlighting passengers as they boarded or disembarked. Every shot was about capturing that fleeting moment when movement, expression, and the architecture came together perfectly.

I value the vivid visual contrast in this scene. The deep shadows combined with sleek architectural lines create a minimalist aesthetic, almost like a stage set. The woman’s orange headwrap immediately draws attention against this background. Its hue reflects the ceiling’s glow, and her red sandals mirror this color, adding a subtle rhythm to the image. She is lit by a patch of light, absorbed in her phone, unaware of the symmetry she introduces. The scene appears natural and unstaged, yet all elements harmonize, resulting in a quietly striking and precise composition.

Rua de Quintandona, situada na aldeia preservada de Quintandona, na freguesia de Lagares e Figueira, concelho de Penafiel. A aldeia constitui um exemplo notável da arquitetura vernacular da região, distinguindo-se pela utilização predominante de xisto e lousa, frequentemente combinados com granito amarelo. Este método construtivo reflete diretamente a geologia local e a adaptação dos recursos naturais disponíveis para a edificação de habitações rurais, muros e anexos agrícolas. Classificada como "Aldeia de Portugal", Quintandona foi alvo de um rigoroso processo de requalificação urbana que visou manter a traça original e a identidade histórica do povoado, garantindo a preservação da sua atmosfera rústica. O pavimento em calçada, visível na fotografia, harmoniza-se com as fachadas de pedra empilhada, criando uma continuidade visual estética. Além do seu inegável valor patrimonial e arquitetónico, a aldeia afirmou-se como um polo de atração turística e cultural, sendo palco anual da Festa do Caldo, evento que celebra a gastronomia e as tradições do interior do distrito do Porto.

Quintandona street, located in the preserved village of Quintandona, in the parish of Lagares e Figueira, municipality of Penafiel. The village is a remarkable example of the region's vernacular architecture, distinguished by the predominant use of schist and slate, often combined with yellow granite. This construction method directly reflects the local geology and the adaptation of available natural resources for the construction of rural dwellings, walls, and agricultural outbuildings. Classified as an “Aldeia de Portugal” (Village of Portugal), Quintandona underwent a rigorous urban redevelopment process that aimed to maintain the original layout and historical identity of the village, ensuring the preservation of its rustic atmosphere. The cobblestone pavement, visible in the photograph, harmonizes with the stacked stone facades, creating a visual aesthetic continuity. In addition to its undeniable heritage and architectural value, the village has established itself as a tourist and cultural attraction, hosting the annual Festa do Caldo, an event that celebrates the cuisine and traditions of the interior of the district of Porto.

outer sunset

san francisco, california

color of bright pink building -- originally dark gold -- was changed to harmonize with its neighbor

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

Diptych: 'Wisteria and its Bumblebees guests' . Views from my Wisteria Bonsai.

(Please, read also my comment www.flickr.com/photos/white-angel/53736155240/#comment721...)

A printable, foldable and writable (on the other side of course) wishes card, complimentary for all the Friends, the Followers and the viewers of my stream. Also made for TO #Purple and for the Award Tree ~ Flower Garden Art ~ May 2024 Challenge, entry # 85.

This work has been obtained as a compo of 4 photos of mine, texturized with an editing filter (thin paint strokes).

The outer multi coloured frame and the bumblebees at the corners have been digitally hand painted by me.

Photo left: added two semi-circular branches/leaves to harmonize the composition, they were there but didn't fit in my framing.

Photo right: although it was sunset, the sun was still very blinding and looked like a white spot. I overlayed another photo of sun to show more the beams and the yellow colour in the exact position where the sun was in my photo. Bokeh, instead, already present in the originary picture.

The rest is unaltered. Bumblebees in the two main photos are real, I was so happy to be able to capture them! It usually never happens to me to be able to frame and shot insects flying with such a speed !

I've added non-commercial share-a-like CC licence. Those who wish, can print, publish, relink or re-blog my work. Please, remember I retain copy right and that I would appreciate to be linked to the published work URL address. Please, always indicate me as author by adding my name & Flickr profile as it follows:

©WhiteAngel Photography @ www.flickr.com/people/white-angel/

This compo has been projected to be printed in 30x13cm as a wishes card but, since it is in HQ, you can even print it larger. Photographed with my Fujifilm XS-1 and its potent Fujinon lenses.

I hope you like it, cheers !

Ref.Dittico Wisteria 11.04.2024 DSCF5991-6011 con disegni OK VM DEFFF.jpg

To ride as then I rode; for the winds drove

The living spray along the sunny air

Into our faces; the blue heavens were bare,

Stripp'd to their depths by the awakening north;

And, from the waves, sound like delight broke forth

Harmonizing with solitude, and sent

Into our hearts aëreal merriment.

From Julian and Maddalo by Percy Bysshe Shelley (1792-1822)

View Large On Black - Otaki Beach looking South, Kapiti Coast, NZ [?]

Available to purchase on my Website

Press L & F11 for best View.

A Vertorama shot !

Aspire Mosque:

The mosque is designed with architectural elements that portray dynamic movement that is associated with sporting activities, and is the most appropriate form in expressing the sports facilities around.

The mosque is capable of accommodating up to 850 persons in a space that portrays a modern, comfortable and aesthetically appropriate environment to the overall backdrop of Aspire Zone. With 1460 m², the mosque provides a place of prayer for 700 men and 150 women. The building is located close to Khalifa Stadium. It incorporates the most appropriate form and architectural finishes harmonizing well with the adjacent buildings.

View large On Black

للعرض بحجم اكبر اضغط هنا

*Visit my website www.qatarphotogallery.com.

All pictures in my photostream are copyright © All rights reserved.

via Facebook ift.tt/2a4ataz

The undulating curves of Canada’s Museum of Civilization, located in Gatineau, Quebec.

Client: Canadian Museum Construction Corporation, Canadian Museum of Civilization and Public Works Canada

Location: Gatineau, Quebec

Area: 93,000 sq.m

Cost: $340 million USD

Completed: 1989 (base building), 1999 (additional exhibit fit-ups)

“Douglas Joseph Cardinal, architect (born 7 March 1934 in Calgary, AB). Recognized for his commitment to excellence and his unique creative vision, Cardinal is credited with creating an Indigenous style of Canadian architecture, characterized by gracious organic forms, which continually challenged the most advanced engineering standards.” [1]

“Canadian Prime Minister Pierre Elliot Trudeau had a dream to raise Canada as a world leader. As part of this vision, he actuated a national competition to design world-class museums. Douglas Cardinal Architect was selected as the architect for the then-called Museum of Man.

Douglas Cardinal’s innovative solution to separate curatorial from exhibition spaces into two wings help to harmonize the museum with both its urban and natural settings. In the curatorial wing, offices around the perimeter allow natural light for staff while protecting the collections in the interior. In the exhibitions wing, large permanent exhibits interface with large areas for temporary exhibits. Two theatres for performing arts, and a Imax Omnimax complete the world-class national museum.

The ambitious complex used the latest technologies of the time, including using water from the adjacent Ottawa River to heat and cool the museum, and fibre optic wiring throughout the museum to broadcast a virtual museum all over the world.

The Canadian Museum of Civilization is rich in symbolism, and eloquent curves. It is the most visited building in Canada, with more than one million visitors each year. It is consistently chosen as a stage to host world leaders visiting the Nation’s Capital on official business.” [2]

Sources: [1] www.thecanadianencyclopedia.ca/en/article/douglas-joseph-...

[2] www.djcarchitect.com/work/#/museum-of-history/

...

Mt. Rainier National Park, WA

The Rainbow Bridge (レインボーブリッジ, Reinbō Buridji) is a suspension bridge crossing northern Tokyo Bay between Shibaura Pier and the Odaiba waterfront development in Minato, Tokyo, Japan.

It is named Tōkyō Kō Renrakukyō (東京港連絡橋) as the official name in Japanese.

It was built by Kawasaki Heavy Industries,[1][2] with construction starting in 1987 and completed in 1993.[3] The bridge is 798 m (2,618 ft) long with a main span of 580 m (1,903 ft).[4] Officially called the "Shuto Expressway No. 11 Daiba Route - Port of Tokyo Connector Bridge,"[5] the name "Rainbow Bridge" was decided by the public.

The towers supporting the bridge are white in color, designed to harmonize with the skyline of central Tokyo seen from Odaiba. There are lamps placed on the wires supporting the bridge, which are illuminated into three different colors, red, white and green every night using solar energy obtained during the day.

The bridge can be accessed by foot from Tamachi Station (JR East) or Shibaura-futō Station (Yurikamome) on the mainland side.