Gestern Abend beim Vorbeifahren habe ich im Augenwinkel entdeckt, das sich in Schönwalde rekonstruiertes mit verlassenem und verfallenem trifft und auch irgendwie harmoniert.

Yesterday evening at the preliminary, I discovered in the corner of the eye, which meets in Reconstructed with abandoned and decayed meets and somehow harmonizes.

www.feiereis.info

Le bâtiment Richard Meier, d'un blanc éclatant, se dresse au cœur de la nature environnante. Que les visiteurs se réjouissent : là où l'art et le nouveau bâtiment du musée s'harmonisent, ils seront les gagnants. Ici, pas de compétition pour occuper la vedette, mais un lieu empreint d'art, un lieu qui révèle sa vraie nature et offre un écrin aux œuvres de l'artiste-mécène du musée ainsi qu'à l'art contemporain.

« Mon architecture ouverte et transparente crée des transitions fluides entre l'intérieur et l'extérieur et reflète le même lien avec la nature que celui exprimé dans les œuvres de Hans Arp. »

En tant que l'un des plus grands architectes de musées internationaux, Richard Meier se réfère dans son architecture aux principes du modernisme classique, un style qui a connu son apogée au début du XXe siècle. Cette époque a également façonné l'œuvre du duo d'artistes Hans Arp et Sophie Taeuber-Arp. Le bâtiment de Meier est baigné de lumière et semble emmener les visiteurs hors de leur quotidien. Ici, les œuvres trouvent un espace propice à leur épanouissement.

The dazzling white Richard Meier Building stands out in the heart of the surrounding nature. Visitors can rejoice: wherever art and the new museum building harmonize, they will be the winners. Here, there's no competition for the spotlight, but a place imbued with art, a place that reveals its true nature and provides a showcase for the works of the museum's artist-patron as well as contemporary art.

"My open and transparent architecture creates seamless transitions between indoors and outdoors and reflects the same connection with nature expressed in the works of Hans Arp."

As one of the greatest international museum architects, Richard Meier refers in his architecture to the principles of classical modernism, a style that reached its peak in the early 20th century. This era also shaped the work of the artist duo Hans Arp and Sophie Taeuber-Arp. Meier's building is bathed in light and seems to transport visitors away from their everyday lives. Here, the works find a space conducive to their development.

the moment of equinox is 16:57 universal time thursday march 20th

so its at 12:57 on the east coast of the americas and 9:57 on the west

here's here's how to find the time where YOU are, relative to universal time

(its at dawn here in hawai'i :)

may this moment of earth's perfect balance in darkness and in light bring its harmonizing grace to each of us *

rays of warmth to You, dear friends ~~

≈ ❀ ≈

A man receiving blessing from high monks after his food offering...Blessing came in the form of an harmonized tune.

To see my scenic shots only : CLICK HERE.

It is literally known as "source of the lake " in Bhutia language. Just about 40 kms. away from Gangtok, the capital of the state, this serene lake is situated at an altitude of 12,000 ft on the Gangtok Nathu La highway. It falls in the restricted area and hence an inner line permit is required by Indians to visit this place. Foreign nationals are not permitted to visit this lake without special permission. The lake is about 1 km. Long, oval in shape, 15 meters deep and is considered sacred by the local people. It is also a home of brahminy ducks. It's cool, placid water harmonizes with the scenic beauty around. A small temple of lord Siva is constructed on the lakeside . This placid lake remains frozen during the winter months up to mid-May.

Between May and August it is possible to see a variety of flowers in blooms, including the rhododendrons, various species of primulas, blue and yellow poppies, irises etc. It is also an ideal habitat for the red panda and various species of birds.

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

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.

(I want to point and say this photo was done by Abel Kryon. He is an amazing photographer and Beyond brilliant. Please go check out his work.)

Queen Bee

Ivanna strides onto the runway, exuding confidence and grace as the Queen Bee, her presence commanding the attention of every eye in the room. Draped in a stunning ensemble inspired by the intricate beauty of a beehive, she embodies the elegance and significance of these remarkable creatures. Bees, often hailed as the unsung heroes of our ecosystem, play a crucial role in pollinating plants, ensuring the production of fruits, vegetables, and flowers. Their tireless work supports biodiversity, sustains our food supply, and maintains the balance of nature. Ivanna's regal entrance not only celebrates her own stature but also pays homage to the vital contributions of bees to our world.

Ivanna's outfit from Irresistible is a masterclass in cohesive elegance, seamlessly integrating every detail to draw attention to her striking frame. The ensemble includes not only a meticulously crafted dress but also complementary hair , shoes, and accessories that harmonize to enhance her silhouette. Adorned with intricate bees and honeycomb jewelry, the outfit celebrates the beauty of nature's design, while the spinning bees add a refined, dynamic touch. Each element, from the golden hues to the delicate craftsmanship, culminates in a look that is both sophisticated and captivating, making Ivanna the epitome of the Queen Bee.

Ivanna feels an immense sense of pride and joy in her role as the Queen Bee, a title that resonates deeply with her appreciation for the vital work bees perform in our world. As she embodies this regal persona, she reflects on how bees tirelessly pollinate plants, contributing to the growth of our food supply and the preservation of biodiversity. This indispensable labor ensures the health of ecosystems and the sustenance of countless species, including humans. Ivanna’s pride stems not only from her own accomplishments but also from honoring the diligent bees whose efforts are crucial for life on Earth. It is this profound connection to their work that fills her with joy and a sense of purpose, reinforcing the significance of her role.

========================

Outfit: irrISIStible To Bee or not to Bee ( Outfit comes with hair piece, shoes, honeycomb tat, most bees attachment, and siut and skirt.)

Jewelry: Bracelet: Finesmith HoneyBee Bracelet

Necklace: @rOrO Bee Jewelry

Rings: Livia Honeycomb Rings

Nails: Livia Honeycomb Nails

Makeup: Eyeshadow: ChirppieBird Hive Queen

Lips: Opulein Glamourama Lipstick Black

Flower Petals: Persefona Floating Rose Petals (White)

Bees: SKBW Brain Full o' Bees Brown

Eyes: Opuleinm Cristiana Eyes (Honey)

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.

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)

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.

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 ~

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

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.

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

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.

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.

Solo singer, a gray wolf at Alpha Park located in the heart of the Mercantour National Park, Saint-Martin-Vésubie, France.

Wolves howl to assemble the pack (usually before and after hunts), to pass on an alarm (particularly at a den site), to locate each other during a storm or unfamiliar territory and to communicate across great distances.

When howling together, wolves harmonize rather than chorus on the same note, thus creating the illusion of there being more wolves than there actually are.

Since 1992, the wolves that had been exterminated in France over a hundred years ago are living here again. They kept migrating across the Italian ‘green border’. Today, there are 25 to 30 wolves divided into packs of five to six, roaming through the seven valleys of the park again.

The Mercantour National Park is a unique nature reserve located in the very southeast corner of France.

© www.myplanetexperience.com

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.

_______________________________________________

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

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

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.

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