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A small detail from inside the Igreja do Carmo (Igreja da Ordem Terceira de Nossa Senhora do Monte do Carmo), This is an 18th-century Catholic church in Faro, Portugal known for its small chapel built out of the bones & skulls of monks. The interior of the Church is noteworthy and was funded by the inflow of wealth, including gold, from Brazil.
this current photo is from an amazing wedding for our second cousin. The real story is 84 years ago my wife's parents were married at this same altar
When Polish immigrants came to America back in the late 1800s and early 1900s, they found comfort and community in their churches. Sweetest Heart of Mary Church was a cornerstone of the Polish community in Detroit. It remains a source of pride and a beacon of faith for Polish Americans in the metro Detroit area to this day. The Church project began in 1890 and was completed in 1893
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Standing proudly at the heart of Lisbon, between Rossio Square and the grand Avenida da Liberdade, the Hotel Avenida Palace is one of Portugal’s most exquisite architectural landmarks. Designed by José Luís Monteiro and completed in 1892, this Belle Époque masterpiece has witnessed over a century of political, cultural, and social transformation—all while retaining its opulent charm and original elegance.
The hotel’s façade is a study in neoclassical symmetry and Parisian influence, a deliberate reflection of Lisbon’s late 19th-century aspiration to join the ranks of Europe’s great cosmopolitan capitals. The central pediment, framed by paired Corinthian pilasters and crowned with sculptural ornamentation, draws the eye upward toward the rooftop sign—its glowing letters spelling “Hotel Avenida Palace” like a promise of timeless luxury. Arched windows, wrought-iron balconies, and stone-carved details balance precision with grandeur, while the red mansard roof provides a warm contrast against the pale limestone.
Inside, the Avenida Palace transports visitors into another era. The interior still features original furniture, marble columns, gilded mirrors, and crystal chandeliers, echoing the elegance of fin-de-siècle Europe. This was a hotel built not merely for travelers but for royalty, dignitaries, and writers—its guest list includes King Edward VII, Eça de Queiroz, and numerous Portuguese intellectuals who gathered here to exchange ideas beneath frescoed ceilings.
The building’s location at the intersection of the Rossio train station and Avenida da Liberdade symbolizes the meeting of two worlds: the traditional and the modern, the local and the cosmopolitan. It was constructed during Lisbon’s expansion under the Marquês de Pombal’s urban vision—a time when the city embraced wide boulevards, formal façades, and French-style architecture as markers of progress. Today, the Avenida Palace remains a living piece of that architectural dialogue, bridging 19th-century splendor with contemporary hospitality.
Captured in soft morning light, this photograph highlights the hotel’s delicate balance between ornament and order. The cobblestone plaza in front, polished by generations of footsteps, enhances the building’s quiet dignity. Even amid Lisbon’s ongoing evolution, the Avenida Palace endures as a symbol of heritage architecture, representing both the city’s resilience and its enduring sense of refinement.
A commercial building in downtown Vancouver showing some art deco architectural style, in the background is Hotel Vancouver.
This Islamic school or madrasa was built in the 14th century in Fez, Morocco. Fez (Fès) is considered the spiritual and cultural center of Morocco. The old medina of Fez was designated a World Heritage Site by UNESCO in 1981. (Zoom in to see the incredible detail.)
When Polish immigrants came to America back in the late 1800s and early 1900s, they found comfort and community in their churches. Sweetest Heart of Mary Church was a cornerstone of the Polish community in Detroit. It remains a source of pride and a beacon of faith for Polish Americans in the metro Detroit area to this day. The Church project began in 1890 and was completed in 1893
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The Porto Cathedral (Portuguese: Sé do Porto) is a Roman Catholic church located in the historical centre of the city of Porto, Portugal. It is one of the city's oldest monuments and one of the most important local Romanesque monuments.
The Vizcaya Museum and Gardens, previously known as Villa Vizcaya, is the former villa and estate of businessman James Deering, of the Deering McCormick-International Harvester fortune, on Biscayne Bay in the present day Coconut Grove neighborhood of Miami, Florida.
The early 20th century Vizcaya estate also includes extensive Italian Renaissance gardens; a native woodland landscape; and a historic village outbuildings compound. The landscape and architecture were influenced by Veneto and Tuscan Italian Renaissance models and designed in the Mediterranean Revival architecture style, with Baroque elements. F. Burrall Hoffman was the architect, Paul Chalfin was the design director, and Diego Suarez was the landscape architect.
Miami-Dade County now owns the Vizcaya property, as the Vizcaya Museum and Gardens, which is open to the public. The location is served by the Vizcaya Station of the Miami Metrorail.
The estate property originally consisted of 180 acres (73 ha) of shoreline Mangrove swamps and dense inland native tropical forests. Being a conservationist, Deering sited the development of the estate portion along the shore to conserve the forests. This portion was to include the villa, formal gardens, recreational amenities, expansive lagoon gardens with new islets, potager and grazing fields, and a village services compound. Deering began construction of Vizcaya in 1912 officially beginning occupancy on Christmas Day 1916 when he arrived aboard his yacht Nepenthe.
The villa was built primarily between 1914 and 1922, at a cost of $15 million, while the construction of the extensive elaborate Italian Renaissance gardens and the village continued into 1923. During the World War I years building trades and supplies were difficult to acquire in Florida. Vizcaya is noteworthy for adapting historical European aesthetic traditions to South Florida's subtropical ecoregion. For example; it combined imported French and Italian garden layouts and elements implemented in Cuban limestone stonework with Floridian coral architectural trim and planted with sub-tropic compatible and native plants that thrived in the habitat and climate. Palms and Philodendrons had not been represented in the emulated gardens of Tuscany or Île-de-France.
The estate property originally consisted of 180 acres (73 ha) of shoreline Mangrove swamps and dense inland native tropical forests. Being a conservationist, Deering sited the development of the estate portion along the shore to conserve the forests. This portion was to include the villa, formal gardens, recreational amenities, expansive lagoon gardens with new islets, potager and grazing fields, and a village services compound.
Vizcaya was built with an open-air courtyard and extensive gardens on Biscayne Bay. As such, the estate has been subject to environmental and hurricane damage, the latter notably in 1926, 1992, and 2005. Miami-Dade County has granted money ($50m U.S.) for the restoration and preservation of Vizcaya. These funds have been matched by grants from FEMA, Save America's Treasures, and numerous other funders. Plans include the restoration of the villa and gardens, and adaptation of the historic village compound for exhibition and educational facilities; however, additional funds are required for this. The completed first phase of this project has included the rebuilding of the museum's Cafe and Shop (in historic recreation areas of the building adjacent to the pool), renovation of the East and West Gate Lodges that flank South Miami Avenue, and rebuilding of the David A. Klein Orchidarium in a plan that generally uses historic precedent. At the same time, Vizcaya has completed the first half of a major conservation program of its outdoor sculpture collections. With a consulting landscape architect, Vizcaya has too finished a comprehensive cultural landscape report, which will be a vital tool in the ongoing restoration of the formal gardens.
Credit for the data above is given to the following websites"
en.wikipedia.org/wiki/Vizcaya_Museum_and_Gardens
© All Rights Reserved - you may not use this image in any form without my prior permission.
The Douglas Entrance (also known as La Puerta del Sol) is a historic site in Coral Gables, Florida. It is located at the junction of Douglas Road and Tamiami Trail (US 41). The architect was Phineas Paist and it was completed in 1924. On September 22, 1972, it is listed on the U.S. National Register of Historic Places.
The Douglas Entrance design also involved Denman Fink and Walter De Garmo.
Credit for the data above is given to the following websites:
en.wikipedia.org/wiki/Douglas_Entrance
www.yelp.com/biz/douglas-entrance-historic-ballroom-coral...
© All Rights Reserved - you may not use this image in any form without my prior permission.
At the corner of F and 10th Streets NW, the former flagship of Woodward & Lothrop—affectionately known as “Woodies”—still commands attention. Built in stages from 1887 to 1926 and expanded over time, this Beaux-Arts masterpiece boasts elaborate terra cotta detailing, neoclassical ornamentation, and a powerful presence in the heart of Washington, D.C. The building now houses government and commercial tenants, yet retains the splendor of its retail heyday. American flags fly proudly over richly ornamented entrances, while the morning sun crowns the cornice. Pedestrians and cyclists animate the historic intersection, weaving modern life into the enduring tapestry of this DC icon.
Standing proudly beneath a brilliant blue sky, this Queen Anne Victorian captures the architectural soul of San Francisco—ornate, resilient, and unabashedly beautiful. The home’s steep gable, rounded turret, and intricate ornamentation are hallmarks of a style that once defined the city’s golden age of craftsmanship. Each detail, from the scalloped shingles to the gilded medallions, speaks of a time when architecture was as much about artistry as utility.
Built in the late nineteenth century, houses like this one emerged as symbols of ambition during San Francisco’s post–Gold Rush expansion. The Queen Anne style, imported from England and adapted to the city’s unique light and terrain, emphasized asymmetry, color, and texture. This particular home—dressed in brick-red, navy, and gold—balances elegance with exuberance. Its turret, capped with a slate conical roof and topped by a weather vane, gestures toward the city’s maritime heritage, while the deep bay windows echo its love of light and views.
At street level, a grand staircase leads to an arched entryway framed by panels of carved relief and painted trim. Look closely, and you’ll find the kind of detail that made Victorian builders legendary: hand-turned spindles, dentil moldings, and ornamental brackets—all carefully restored to preserve their original spirit. The textures are a visual symphony, the play of shadow and sunlight across wood and paint transforming the façade throughout the day.
Inside, homes like this once boasted high ceilings, inlaid floors, and parlors meant for both intimacy and display. Many have since been lovingly preserved or adapted for modern life, embodying the spirit of adaptive reuse that defines contemporary San Francisco’s relationship with its past. Despite earthquakes, fires, and waves of urban change, the city’s Victorian architecture remains its most romantic ambassador—a reminder of endurance through reinvention.
For photographers and historians alike, this home is a masterclass in architectural symmetry and heritage preservation. Its harmonious balance of color, craftsmanship, and historical integrity makes it a quintessential example of the beaux arts and classic design principles that guided the city’s builders. Against the clean backdrop of a coastal sky, every detail shines with intention: timeless, local, and unmistakably San Franciscan.
There is poetry in its persistence. While modern towers rise downtown, this Victorian still holds court, its weathered spire and painted panels whispering of an age when architecture sought not just to shelter but to inspire.
A collection of photos from our trip to Barcelona, Spain in March 2025. Alongside exploring the city’s vibrant streets and iconic landmarks, we also took day trips to Girona, Besalú, Castellfollit, and the stunning Montserrat.
Without question, it’s a destination full of beauty and inspiration—well worth the journey!
Looking along Station Road towards Winton Square the facade of Stoke railway Station comes into view along with an associated hotel and series of houses built on the opposite side of the street.
Completed in 1848 to a Elizabethan and Jacobean design by H. A. Hunt of Parliament Street, London, it became the headquarters of the North Staffordshire Railway Company.
The building, described by Pevsner as 'the finest piece of Victorian axial planning in the county', now has grade II* listed status.
A fine introduction to the city of Stoke-on-Trent.
The town of Stoke within Stoke-on-Trent is listed on the At Risk Register by Historic England a link to which can be found here. historicengland.org.uk/advice/heritage-at-risk/search-reg...
William Thomas Brown (1848-1907), a native of Illinois, married Martha (Mattie) J. Housewright in 1871. They moved to Wylie [Texas] shortly after its establishment on a newly constructed railroad line from Paris to Dallas built by the Gulf, Colorado, and Santa Fe Railroad company in 1886. Thomas and his business partner John H. Burns purchased over 31 acres, which included this site, from Nancy and James Vaughn Russel in 1887. The Browns secured this home site in 1888 and replaced their original residence with this ornate Queen Anne style structure in 1905. The house, with six rooms downstairs and one large room upstairs, exhibits an unusual variety of material, elaborate roofscape and asymmetrical plan typical of the Victorian era. The gables of the four dormers are covered with original fishscale shingles. Prominent features include a wraparound porch with slender paired doric columns, dentil frieze, palladian windows and polygonal bays with cutaway corners on their side elevations. Although Thomas Brown died just two years after the house was built, Mrs. Mattie Brown continued to live here until her death in 1922. The house was then inherited by the Browns' adopted daughter, Tennie Lee (Rattaree) Creel and remained in her family until 1931.**Recorded Texas Historic Landmark - 1992***
In 2015 The town of Wylie, Texas purchased this house, so it is now open to the public.
A rich interplay of architectural splendor and intimate curation defines this gallery space within The Phillips Collection in Washington, D.C. Once part of Duncan Phillips’ historic home, this room merges Gilded Age elegance with the quiet contemplation of modern art. The photograph centers on a monumental fireplace, framed by carved columns and crowned by a dark wood overmantel etched with heraldic reliefs. The stone hearth below rests empty, now a sculptural remnant of the building’s domestic past.
Surrounding the fireplace, intricately paneled walls in warm, dark wood extend across the room. The architectural gravitas is softened by the thoughtful placement of modern paintings hung against crisp white inserts between the panels. Their slightly tilted angles and subdued palettes offer a visual counterbalance to the heavily adorned walls, allowing viewers to feel both anchored in history and open to the evolving language of art.
Above, a glowing coffered ceiling painted in luminous gold steals the gaze. Its classical geometry and ornate detailing reflect the influence of Beaux-Arts design, infusing the room with a soft, radiant warmth that contrasts the cooler floor tones below. Parquet wood flooring inlaid with complex geometric patterns adds to the sense of grandeur, but with a quiet restraint that complements rather than overwhelms the modern pieces on display.
On the far right, sheer white curtains filter natural light through tall windows, lending a softness to the architectural severity. A lone museumgoer is caught in quiet reverie, their presence humanizing the space and reinforcing the museum’s mission: to present art in settings that feel deeply personal and reflective.
The gallery’s design is no accident. Duncan Phillips was one of the first American collectors to imagine a museum that resembled a home—a place where paintings from vastly different eras could speak to each other, and to viewers, in a shared and familiar setting. This room embodies that philosophy perfectly: ornate columns and classical motifs blend seamlessly with 20th-century abstraction and landscape painting, offering an immersive and timeless aesthetic.
From the carved floral ornamentation on the paneling to the restrained use of artificial lighting that highlights key works, every detail in the photograph reveals a space of dialogue. It’s a place where texture, era, and style converge. You feel the echoes of formal salons and private libraries, reimagined here as a democratic space of public engagement with modern art.
The golden ceiling’s reflective glow subtly infuses the entire room with a sense of reverence. It’s less a gallery than a sanctum—a luminous chamber where time bends, and where the past is in conversation with the present. The photograph captures this moment with clarity and intimacy, inviting viewers to experience the quiet majesty of one of America’s most beloved small museums.
The vibrant Friendship Archway in Washington, D.C.’s Chinatown stands as a symbol of cultural unity and international partnership. Captured here on a cloudy afternoon, the photo showcases the iconic arch in its urban context—anchoring a busy intersection where heritage and modernity converge. Located at H and 7th Streets NW, this monumental gate is one of the largest ceremonial archways outside of China, and it marks the entrance to a historic neighborhood that has seen waves of transformation over the decades.
Commissioned in 1986 through a partnership between Washington, D.C., and its sister city Beijing, the arch was designed by Chinese artisans and built with traditional materials and techniques. It features over 7,000 glazed tiles, upturned eaves, and intricate wooden carvings painted in rich reds, blues, greens, and golds. The Chinese inscription at the top, “Zhōng Huá Mén” (中华门), translates to “China Gate,” greeting both locals and visitors as they cross into this cultural enclave.
In this photograph, the arch is framed by a lively streetscape that blends architectural styles. To the left, red-brick buildings housing restaurants and small businesses reflect the historic commercial heart of the neighborhood. On the right, modern glass and steel buildings contrast sharply, echoing D.C.'s ongoing urban renewal. Beneath the arch, city buses and cars navigate the intersection, a reminder that this landmark is not only symbolic—it is woven into the daily rhythms of the city.
The street activity brings the image to life. A Metro entrance peeks out just beneath the archway, inviting commuters underground. A pedestrian waits to cross, a bus roars by, and bikes cruise down the painted lanes. While rooted in tradition, the arch remains very much a part of a modern and evolving city.
Washington’s Chinatown has experienced demographic shifts over time. Though the number of Chinese American residents has declined, the area still holds strong symbolic value for the broader Asian American community in the region. The archway remains a focal point for Lunar New Year celebrations, cultural festivals, and everyday pride. It also serves as a visual and cultural anchor for visitors exploring the city’s downtown.
This image celebrates not just the craftsmanship of the arch, but also the layered identity of D.C.—a city where heritage sites live alongside cutting-edge commerce. It’s a moment frozen in motion: cars blurring past, a bus loading passengers, pedestrians paused at the crosswalk, and the ever-watchful arch standing firm over it all.
Bathed in the soft light of early evening, this elegant historic corner building stands proudly along a vibrant D.C. street, a perfect blend of grand architecture and everyday city life. Its soft beige brick façade, whimsical turrets, deep bay windows, and layered balconies evoke a fairy-tale quality, blending Queen Anne and Romanesque Revival styles with a distinctly American urban sensibility. Subtle detailing, like the patterned brickwork and delicate iron railings, rewards close attention while maintaining a sense of clean, understated sophistication.
The building’s rounded towers and asymmetrical shapes echo D.C.’s late-19th-century boom, when architects looked to Europe for inspiration while adapting styles to the city’s evolving needs. Today, this corner feels alive with energy: young professionals stroll by with backpacks, cars line the curb, and signs of daily urban life — bikes, storefronts, and cozy lighting — anchor the scene in the present.
The juxtaposition between history and daily momentum is palpable. The modern street improvements, pedestrian-friendly design, and casual vibrancy of the people emphasize how these grand old buildings are not frozen in time; they are part of the city's living, breathing evolution. Captured during the magical blue hour, the building’s warm, welcoming glow spills out into the cool evening, making this intersection feel especially inviting.
In a city often known for its marble monuments and political drama, this quieter corner captures a different kind of D.C.: residential, real, and rich in history. It’s a perfect testament to the way architecture can root a community, providing continuity even as everything around it shifts and grows. Moments like this remind us that D.C.'s soul lives not just in landmarks, but in the details of its neighborhoods.
A collection of photos from our trip to Barcelona, Spain in March 2025. Alongside exploring the city’s vibrant streets and iconic landmarks, we also took day trips to Girona, Besalú, Castellfollit, and the stunning Montserrat.
Without question, it’s a destination full of beauty and inspiration—well worth the journey!
The old Fenton Town Hall, bequeathed to the people of the town by the philanthropist William Meath Baker sitting proudly in Albert Square, between Gimson Street and Baker Street, Fenton, Stoke-on-Trent.
This is the only Town Hall or former Town Hall of the Stoke-on-Trent towns not to be listed?
Originally built in 1889 as part of a development, including the surrounding streets and built by Robert Scrivener and Sons, this building became the scene of a local community demonstration including an organised sit-in in November 2014.
The Town Hall was passed on to the Ministry of Justice by the local council (free of charge) and was used as a Magistrates Court for many years. However, when the court was closed the Ministry put the building up for sale.
The building contains a large Minton Tile war memorial to 498 men from Fenton who lost their lives during the First World War. Due to the size and weight of this memorial it is thought that would be particularly difficult to relocate, and as the building does not have listed status the local community were worried about the future of both the building and its memorial.
Fenton Community Association and Urban Vision put forward plans to buy the building but were unable to raise the £500,000.00 price tag. It seeems that salvation has been found though. The great-grandson of the altruistic William Meath Baker, Justin Meath Baker has been instrumental in the fight to buy the building, after fighting for the buildings future with the various local community groups. This came to pass in 2015 when the building was aquired by Baker & Co with the intention of providing a community space for use into the future.
One point of note regarding the building is that it originally had a central spire which was dismantled after being deemed unsafe.
William Meath Baker owned the nearby pottery works, now operated by James Kent Ltd. He was responsible for much of the development of the town building housing for his pottery workers which still stand today.
Rising proudly at a sunny corner in San Francisco’s Haight neighborhood, this beautifully preserved Victorian home captures the romantic spirit of the city’s late 19th-century architecture. With its steep gables, conical turret, and richly layered façade of brick, shingle, and carved wood, the house exemplifies the Queen Anne style that once defined entire neighborhoods across the city. Each detail—the turned posts, the patterned trim, the scalloped shingles, and the ornate cornice—tells a story of a time when craftsmanship and artistry were integral to domestic design.
These houses were born of a moment of optimism. In the years after the Gold Rush, San Francisco transformed into a city of innovation, wealth, and exuberance. Builders and artisans competed to outdo one another with bold architectural flourishes, and the Victorians that still line the Haight’s streets became living testaments to that creative ambition. Painted in a mix of saturated colors and natural tones, they stand as both individual expressions and part of a collective identity—the city’s unmistakable architectural rhythm.
The Haight’s Victorian homes have survived earthquakes, fires, and waves of cultural reinvention. During the 1960s, many of these same houses served as communal living spaces for artists, activists, and musicians who defined the counterculture movement. Behind their bay windows, the sounds of folk and rock once drifted into the streets, blending with the scent of incense and the energy of change. Today, the neighborhood retains that eclectic, open-spirited vibe: vintage shops, record stores, cafés, and murals coexist beside lovingly restored period architecture.
This particular home, with its turret reaching into the bright blue sky, seems to bridge past and present. The craftsmanship speaks to San Francisco’s Victorian legacy, while its enduring presence in such a dynamic district reflects the city’s ability to reinvent itself without losing its soul. The play of light across its multicolored façade reveals textures that change with every passing hour—just as the neighborhood around it continues to evolve while honoring its roots.
To stand at a Haight street corner and gaze at a house like this is to feel a dialogue between time periods. The architectural details whisper of 19th-century elegance; the surrounding energy hums with modern San Francisco life. Together they create a tableau that feels uniquely alive—where history isn’t simply preserved, but lived in, loved, and reimagined daily.
This exquisitely maintained Italianate Victorian on Jerrold Avenue in San Francisco’s Bayview neighborhood is a testament to the city’s 19th-century architectural legacy. Painted in a refined gradient of slate blue and periwinkle gray, the façade is a study in texture, shadow, and ornamental restraint. It’s a home that turns every corbel, column, and carved panel into a conversation.
The entrance is framed by intricately turned columns, supporting an overhanging cornice bracketed by finely chiseled detail. Above the door and windows, layered trim, sunburst motifs, and floral flourishes emphasize symmetry and status—hallmarks of Italianate design. A wrought iron gate, anchored by classic masonry pillars, elegantly guards the home’s elevated stoop, offering both security and historic continuity.
Located on Jerrold Avenue, this Victorian stands among Bayview’s rare and often under-celebrated historic homes—many of which have been lovingly preserved by generations of families despite decades of disinvestment and citywide change. Unlike the better-known Painted Ladies in Alamo Square, these homes tell a different story: one of working-class resilience and deeply rooted community pride.
For photographers, architecture enthusiasts, or anyone documenting San Francisco’s layered cultural history, this home offers a pristine and powerful example of what survives when craftsmanship and care converge.
Standing proudly on the corner beneath shifting clouds, the CornerstoneSF Church building in San Francisco captures the ornate romanticism of early 20th-century Moorish Revival architecture. Its indigo façade, graceful arches, and intricate white trim bring to mind Mediterranean and Andalusian influences—an unexpected yet harmonious presence in the heart of the city.
The building’s crowning tower, with its arcaded openings and deep eaves, recalls a bell tower or minaret, while the rhythmic repetition of arches across the façade adds an architectural lyricism that speaks to the optimism of its era. Constructed during a period when many American architects drew from eclectic global styles, this structure fuses spiritual aspiration with the craftsmanship of civic pride. The stucco walls and decorative plasterwork show the hand of artisans who believed in architecture as storytelling—a theme that resonates deeply in San Francisco’s layered urban fabric.
Originally built as a church, the building has evolved over time but continues to serve as a gathering space for community and reflection. Its vivid blue hue feels contemporary, yet the sculptural massing and ornamental flourishes firmly root it in the early 1900s. The repetition of Moorish motifs—horseshoe arches, geometric patterns, and flowing cornices—evokes a dialogue between light and shadow, faith and artistry. The choice of color adds to the emotional charge: blue for calm and devotion, white for purity and transcendence.
From street level, the structure’s welcoming arched entryway and rhythmic fenestration lead the eye upward, culminating in the delicate tracery that crowns the tower. Like much of San Francisco’s eclectic architecture, the building is a visual bridge between worlds—historical yet alive, sacred yet civic. Its enduring beauty lies in its balance between ornament and proportion, the play of historical reference and local identity.
Today, CornerstoneSF continues the building’s long legacy of gathering, performance, and connection. The architecture reminds visitors of the city’s openness to reinvention: a place where ornate historic forms coexist with contemporary use. Whether admired for its spiritual presence or its decorative power, this building remains one of the Mission District’s most visually distinctive landmarks—a testament to San Francisco’s ongoing dialogue between past and present, art and life.
Former Templeton Carpet Factory on Glasgow Green, opened in 1892. According to Wikipedia, ‘After repeated design proposals had been rejected by Glasgow Corporation, James Templeton hired the famous architect William Leiper to produce a design that would be so grand it could not possibly be rejected, so William Leiper modelled the building on the Doge’s Palace in Venice.’ Love it😀 #templetonsbusinesscentre #templetonscarpetfactory #dogespalace #glasgowarchitecture #scottisharchitecture #glasgow #glasgowcorporation #glasgowgreen #glasgowphotography #ornate #ornatebuildings #ornatearchitecture #gothicstyle
This old house was built as part of the development of Stoke Railway Station along Station Road, Stoke part of the conurbation which makes up the city of Stoke-on-Trent.
This is 6 Winton Square, one of a number of houses built to a design by H. A. Hunt and completed in and around 1847.
It was occupied by a number of Railway Managers and associated staff until 1892 when the company started to rent this premises out to people of other professions. It subsequently was used as office space.
Today this grade II listed, Elizabethan and Jacobean style ornate brick building is occupied by the food outlet Subway.
The town of Stoke within Stoke-on-Trent is listed on the At Risk Register by Historic England a link to which can be found here. historicengland.org.uk/advice/heritage-at-risk/search-reg...
Black-and-white photo of the historic Calvary Chapel in Szeged, Hungary, taken during the 1960s with a woman in the foreground.
Black-and-white photo of a woman standing in front of the historic Calvary Chapel in Szeged, Hungary, during the 1960s.
Intricately carved stonework crowns this vaulted ceiling inside Palácio Nacional da Pena, where natural motifs transform architecture into sculpture. The intertwining pinecones and branches symbolize fertility and renewal, recurring themes in Romantic architecture. Set against pale wooden walls and soft natural light, the design reflects King Ferdinand II’s fascination with both nature and the Gothic revival. The craftsmanship reveals an organic rhythm—each curve and tendril blending art and structure in perfect harmony. This detail captures the essence of Pena Palace: a place where imagination defies convention, and every surface tells a story of beauty, symbolism, and royal creativity.
Guggenheim Hall, University of Washington campus; Winter 2016
#UW #BowDownToWashington #OrnateArchitecture #206