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Die Abdel Moneim Riad Moschee in Dahar war jahrelang das Wahrzeichen von Hurghada.
Die große Moschee von Hurghada ist heute noch immer ein Einblick in das tägliche Leben, die Kultur und den Glauben in Ägypten. Rundfahrten durch das Zentrum von Hurghada halten meistens in der Moschee.
Die Abdel Moneim Riad Moschee in Dahar war jahrelang das Wahrzeichen von Hurghada.
Die große Moschee von Hurghada ist heute noch immer ein Einblick in das tägliche Leben, die Kultur und den Glauben in Ägypten. Rundfahrten durch das Zentrum von Hurghada halten meistens in der Moschee.
Die Abdel Moneim Riad Moschee in Dahar war jahrelang das Wahrzeichen von Hurghada.
Die große Moschee von Hurghada ist heute noch immer ein Einblick in das tägliche Leben, die Kultur und den Glauben in Ägypten. Rundfahrten durch das Zentrum von Hurghada halten meistens in der Moschee.
Ägypten, Hurghada, Abd al-Mun 'im Riyad- Moschee.Die Abdel Moneim Riad Moschee in Dahar war jahrelang das Wahrzeichen von Hurghada.
Die große Moschee von Hurghada ist heute noch immer ein Einblick in das tägliche Leben, die Kultur und den Glauben in Ägypten. Rundfahrten durch das Zentrum von Hurghada halten meistens in der Moschee.
A chunky, large-billed lark of desolate sandy deserts and open arid plains of the Arabian Peninsula. Plain sandy-brown above and paler below, with faint white markings and a dark moustache mark on the face. Also note the pinkish bill and the inky black outer tail feathers, most apparent in flight. Runs about on the ground, stopping abruptly. Found singly or in pairs when breeding, gathering in larger groups only during the non-breeding season. Song, a sequence of beautiful burbling phrases, is given both from the ground and in song flight. Calls include a low wet rattle and a mellow two-noted whistle. Generally similar to other dry-country larks such as Desert and Bar-tailed Larks, but combination of more streaked upperparts, black outer tail feathers, and uniformly pink and bulbous bill is diagnostic. (eBird)
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We spent nearly five hours walking and driving around this gravelly desert habitat in search of this particular lark. A true challenge since the bird matched its habitat and there were other lark species there as well. In the end we found three together. Much discussion about the finer points of lark ID and then rejoicing as this was our only chance for this bird before returning to Riyadh for our flight to Al Bahah.
Here is the link to our Arabian Peninsula birding trip: ebird.org/tripreport/431495
Riyadh region, Ar Riyad, Saudi Arabia. November 2025.
Saudi Birding.
Das Wort Paradies stammt von dem alt-persischen Wort „pairidaeza“ ab und bedeutet „ummauerter Raum“. Darum liegen die Riyâd genannten Gartenhöfe des Orients traditionell hinter Mauerwerk versteckt, woraus sich auch der Mythos des Gartens als verborgener Oase speist. Die Begrenzung war außerdem nötig, um in den Gärten ein bestimmtes Klima aufrechterhalten zu können.
Entsprechend dieser islamischen Bautradition liegt auch der Orientalisch-Islamische Garten der Gärten der Welt hinter einer vier Meter hohen Mauer, die ihn von der Außenwelt trennt.
The word paradise derives from the Old Persian word "pairidaeza" and means "walled space". That's why the riad garden courtyards of the Orient are traditionally hidden behind masonry, feeding into the myth of the garden as a hidden oasis. A boundary was also necessary in order to maintain a certain climate within the gardens.
In accordance with this Islamic construction tradition, the Oriental-Islamic Garden of the Gärten der Welt is also secreted behind a four-metre-high wall, separating it from the outside world.
www.gaertenderwelt.de/en/gardens-architecture/themed-gard...
Das Wort Paradies stammt von dem alt-persischen Wort „pairidaeza“ ab und bedeutet „ummauerter Raum“. Darum liegen die Riyâd genannten Gartenhöfe des Orients traditionell hinter Mauerwerk versteckt, woraus sich auch der Mythos des Gartens als verborgener Oase speist. Die Begrenzung war außerdem nötig, um in den Gärten ein bestimmtes Klima aufrechterhalten zu können.
Entsprechend dieser islamischen Bautradition liegt auch der Orientalische Garten der Gärten der Welt hinter einer vier Meter hohen Mauer, die ihn von der Außenwelt trennt. Durch den „Saal der Empfänge“ betrittst du den viergeteilten Gartenhof, in dessen Mitte sich ein Brunnen befindet.Über den „Saal der Empfänge“ gelangst du in den 63 x 38 Meter großen Gartenhof. Er ist den orientalischen Vorbildern entsprechend geometrisch-vierteilig angelegt. Von der großen Brunnenschale in der Mitte gehen vier Wasserbecken ab, an denen vier gleich große, rechteckige Beete liegen. Entsprechend der orientalisch-islamischen Gartenkultur finden sich hier sowohl Zier- als auch Nutzpflanzen – man verbindet das Schöne mit dem Nützlichen. Neben den typisch orientalischen Granatäpfeln, Oliven und Palmen findest du hier auch Ziergehölze und Stauden. Für eine farb- und duftintensive Blüte sorgen außerdem Flieder, Jasmin, Oleander, Geranien und großblütige Magnolien. Eine botanische Besonderheit des Gartens ist der violett-rosa blühende Judasbaum, dessen Blüten im Frühling noch vor den Blättern direkt am Holz sprießen.
Die Gartenanlage wurde im Juli 2005 eröffnet. Sie wurde von dem Garten- und Landschaftsarchitekten Kamel Louafi gestaltet, dem der marokkanische Gartenhistoriker Prof. Mohammed El Fai’z als Berater zur Seite stand. 2007 wurde die Anlage um den „Saal der Empfänge“ ergänzt, der ebenfalls von Louafi entworfen wurde. Die finanzielle Unterstützung durch den Senat für Wirtschaft und Arbeit und die Allianz Umweltstiftung ermöglichte die Realisierung des Orientalischen Gartens.https://www.gaertenderwelt.de/gaerten-architektur/themengaerten/orientalischer-garten/
Das Wort Paradies stammt von dem alt-persischen Wort „pairidaeza“ ab und bedeutet „ummauerter Raum“. Darum liegen die Riyâd genannten Gartenhöfe des Orients traditionell hinter Mauerwerk versteckt, woraus sich auch der Mythos des Gartens als verborgener Oase speist. Die Begrenzung war außerdem nötig, um in den Gärten ein bestimmtes Klima aufrechterhalten zu können.
Entsprechend dieser islamischen Bautradition liegt auch der Orientalisch-Islamische Garten der Gärten der Welt hinter einer vier Meter hohen Mauer, die ihn von der Außenwelt trennt.
The word paradise derives from the Old Persian word "pairidaeza" and means "walled space". That's why the riad garden courtyards of the Orient are traditionally hidden behind masonry, feeding into the myth of the garden as a hidden oasis. A boundary was also necessary in order to maintain a certain climate within the gardens.
In accordance with this Islamic construction tradition, the Oriental-Islamic Garden of the "Gardens of the World" is also secreted behind a four-metre-high wall, separating it from the outside world.
www.gaertenderwelt.de/en/gardens-architecture/themed-gard...
Les réseaux de métro du monde entier affirment depuis longtemps que leur service quotidien, simple et simple, peut être amélioré par la beauté et le design. Cela se reflète non seulement dans les lignes épurées de la nomenclature du métro de New York, mais aussi dans les stations ornées du métro de Saint-Pétersbourg et dans le design brutaliste fascinant du Metro Center de Washington DC . Le dernier à rejoindre cette liste de systèmes de transport séduisants est le tout nouveau métro de Riyad en Arabie saoudite, couronné par la station de métro King Abdullah Financial District (KAFD), un échangeur clé conçu par Zaha Hadid Architects (ZHA).
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Subway systems around the world have long asserted that their day-to-day, straightforward service can be enhanced by beauty and design. This is evident not only in the clean lines in the New York Subway nomenclature, but also in the ornate stations of the St. Petersburg subway and the mesmerizing Brutalist design of DC's Metro Center. The latest to join this list of alluring transit systems is the brand new Riyadh Metro in Saudi Arabia—crowned by the King Abdullah Financial District (KAFD) Metro Station, a key interchange designed by Zaha Hadid Architects (ZHA).
credit : Zaha Hadid Architects
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-- Available August 25 @ Uber --
Eyeliner à la carte!
Mix, match and create your own style with the Riyad liner collection, a set of combinable liners and add-ons that allows you to customize your look to your heart's desire! Wear them as is or top your favourite eyeshadows for a little extra oomph ♥
The Riyad liner collection is a LeL Evo/EvoX exclusive, and includes the following:
■ HD appliers for Lelutka Evolution heads (Evo Classic & EvoX)
+ BoM layers for EvoX
Note: The bonus base eyeshadow included is an EvoX BoM exclusive and not included in the HD applier HUD.
Demo available! ♥
But wait, there's more! >.>
Uber is celebrating its birthday, and you can also find gifts from each participating store at their respective mainstores for the duration of the event!
(shown on Lelutka Avalon - skin from Amara Beauty, hair from Doux, eyes from Avi-glam, nose ring from Little fish, earrings from Avaway; other WarPaint items shown include: Andromeda lashes (top), Primrose lips - set 2 (Uber Anniversary gift!), Georgia brows, (im)Perfect chin scar, #IWokeUpLikeThis BodyEdit)
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Das Wort Paradies stammt von dem alt-persischen Wort „pairidaeza“ ab und bedeutet „ummauerter Raum“. Darum liegen die Riyâd genannten Gartenhöfe des Orients traditionell hinter Mauerwerk versteckt, woraus sich auch der Mythos des Gartens als verborgener Oase speist. Die Begrenzung war außerdem nötig, um in den Gärten ein bestimmtes Klima aufrechterhalten zu können.
Entsprechend dieser islamischen Bautradition liegt auch der Orientalisch-Islamische Garten der Gärten der Welt hinter einer vier Meter hohen Mauer, die ihn von der Außenwelt trennt.
The word paradise derives from the Old Persian word "pairidaeza" and means "walled space". That's why the riad garden courtyards of the Orient are traditionally hidden behind masonry, feeding into the myth of the garden as a hidden oasis. A boundary was also necessary in order to maintain a certain climate within the gardens.
In accordance with this Islamic construction tradition, the Oriental-Islamic Garden of the Gärten der Welt is also secreted behind a four-metre-high wall, separating it from the outside world.
www.gaertenderwelt.de/en/gardens-architecture/themed-gard...
Der Orientalische Garten präsentiert sich als Ensemble, bestehend aus dem „Saal der Empfänge“, der in den Riyâd führt – ein Gartenhof, der von einer vier Meter hohen Mauer umfasst ist. So greift die Architektur eine Bautradition islamischer Gartenkultur auf: Die Oase, die verborgene Quelle, das Paradies sind oft nicht unmittelbar sichtbar. Die Mauern und die überdachten Arkaden wurden von marokkanischen Kunsthandwerkern mit Keramikkacheln – den sogenannten „Zillij“ – verziert. Der gesamte Garten ist mit Ornamenten reich bestückt. Sie finden sich in den Keramikfliesen, in den Holzverzierungen, im Sandstein und im Gips sowie im Bodenbelag. Viele Ornamente, die die islamische Architektur prägen, zeigen Pflanzenteile wie Blüten und Blätter.
This oriental garden (6.100 m²) is a part of Gärten der Welt (Gardens of the World) in Berlin, Germany.
Der orientalische "Garten der vier Ströme" (JANAN AL ANHAR AL ARBÁA) befindet sich als Teil des Erholungsparks "Gärten der Welt" im Berliner Stadtteil Marzahn.
KSA has not been affected by crisis, as far as i could see last month! Hundreds of cranes to build a new Princess Noura University!
Princess Nora Bint Abdulrahman University in Riyadh is a new university for women. The university is expected to cover 8 millions square metres and located on King Khalid International Airport Road at north of Riyadh. The total built up area is around 3 millions square metres. The university will include administration buildings, 13 faculties, a 700-bed student hospital, laborites, Research centres, and residential area that include accommodation for students and staff. The capacity of university is around 26,000 students.
© Eric Lafforgue
Riyad - Masmak fortress.
Masmak fortress was the scene of Ibn Saud's daring 1902 raid on the Al-Rashid garrison to regain control of Riyadh.
After a full week in Geneva, the Queen is leaving to Riyad.
© Erwan Pambrun-Vincent - Tous droits réservés
23 July St. PortSaid, Egypt l شارع 23 يوليو ,بورسعيد, مصر
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Partal Palace is a palatial structure inside the Alhambra fortress complex located in Granada, Spain. It was originally built in the early 14th century by the Nasrid ruler Muhammad III, making it the oldest surviving palatial structure in the Alhambra.
The Partal Palace was built by the Nasrid ruler Muhammad III who ruled the Emirate of Granada, the last Muslim state in Al-Andalus (the Iberian Peninsula), from 1302 to 1309. This dating makes it the oldest remaining palace in the Alhambra today. It was also the first of several palaces that were eventually built along the northern perimeter of the Alhambra. Another palace, called the Palacio del Partal Alto by archeologists, once stood to the south in an area now occupied by gardens. Though traditionally attributed to Yusuf III (r. 1408–1417), it was most likely built by Muhammad III's predecessor, Muhammad II (r. 1273–1302). The space between the Palacio del Partal Alto to the south and the outer Alhambra walls to the north was a large garden, the Riyad as-Sayyid ("Garden of the Sayyid", Sayyid being an honorific used by the Nasrids), which may have initially stretched from the Comares Palace in the west to the Torre de las Infantas in the east. Muhammad III built the Partal Palace in this garden area. He re-used a former fortification tower and turned it into a mirador (lookout chamber) integrated into a decorated building.
The Partal Palace is one of the structures that has undergone the most alterations after the Nasrid era. Unlike the neighboring Comares Palace and Palace of the Lions, which were used by Spanish monarchs after the conquest of 1492, the Partal Palace passed under private ownership and was remodeled into a residence by its owners. It was only ceded to the Spanish government in 1891 and then incorporated into the rest of the Alhambra historical site. Over the course of the 20th century it underwent multiple restorations by archeologists and architects in charge of the Alhambra. Two large 14th-century marble lions, originating from the now-demolished Maristan in the Albaicin, had previously been moved to the Partal Palace but were removed in the 1890s to be restored and preserved. They are now kept at the Alhambra Museum. Between 1923 and 1924 Leopoldo Torres Balbás restored and partly rebuilt the portico façade, revealing and reconstituting the sebka stucco decoration above the arches. Francisco Prieto Moreno replaced the portico's brick pillars with slender Nasrid-style marble columns in 1965.
The palace is only partly preserved, with only the tower and portico on its north side remaining. According to some scholarly views, this was originally part of an enclosed rectangular courtyard rather than the open garden it appears as today. It would have thus had the typical layout seen in other palaces nearby: a private courtyard centered on a large reflective pool with porticoes at either end and a mirador tower at one end that looked down on the city from the edge of the palace walls. Another scholarly view holds that the Partal Palace never had an enclosed courtyard, and consisted mainly of the present structure facing an open landscape with the pool. This arrangement would differ from other Nasrid palaces, but it had precedents in earlier Almohad-era country estates such as the Buḥayra of Seville (built in 1171–1172). In this scenario, the Partal Palace would have been an essentially outdoor space that could be enjoyed during good weather.
The main remaining structure today is also known as the Palacio del Pórtico. Both the arched façade of the external portico and the interior walls are carved or covered with intricate stucco decoration from the time of Muhammad III. Much of this decoration was originally painted with colours, though much of this has faded over time. The calligraphic inscriptions in the decoration include poems by Ibn al-Jayyab dedicated to Muhammad III. The portico was originally supported on brick pillars, but these were replaced in the 20th century by slender marble columns as seen today. The palace still preserves its large reflecting pool in front of the portico. Behind the portico is a chamber projecting outwards and northwards from the Alhambra walls. This acted as a mirador, similar to the Sala Regia in the Generalife, offering views over the city below through the windows on its three sides. Windows also lined other parts of the building. As a result of its open portico and many windows, scholar Arnold Felix describes it as the most "transparent" building in the Islamic architecture of Al-Andalus.
The palace structure also includes the Torre de las Damas (Tower of the Ladies), a tower to the left (or west) of the main portico and mirador. Its top floor had two chambers. The original wooden cupola ceiling inside the larger chamber was dismantled and moved by its last private owner, Arthur von Gwinner, around the beginning of the 20th century. It is now preserved at the Museum für Islamische Kunst, the Islamic art section of the Pergamon Museum in Berlin, Germany. The other chamber is covered by a small dome carved with muqarnas (or mocárabes in Spanish), which is the oldest muqarnas vault in the Alhambra today.
On the right (east) side of the main tower is a small elevated pavilion structure, entered via a staircase on its northwest side. The small room inside it served as a private mosque or prayer room, as evidenced by its mihrab. The structure is also referred to by its Spanish designation, the oratorio or 'oratory'. The oratory has a rectangular layout measuring 4.16 meters long and 3 meters wide. It is similar in conception to the small oratory attached to the Mexuar. Like the latter, it also enjoyed great views through double-arched windows, a feature which was unique to this type of prayer space in the Alhambra. The room, its mihrab, and the exterior of its southwestern window are richly decorated with carved stucco in the Nasrid-era tradition, with arabesque motifs and various Arabic inscriptions with religious themes and references to God (Allah). The alcove inside the mihrab is covered by a muqarnas cupola. The room is covered by a Nasrid-era timber frame ceiling, constructed independently from the roof above it, which features interlacing eight-pointed star motifs. On the oratory's southeast side is an adjacent and contiguous structure known today as the House of Astasio de Bracamonte, after the squire of the Count of Tendilla (the governor of the Alhambra after 1492). The house has a three-level layout and a separate entrance on its southwestern side. It was built before the oratory, although its highest floor was added later during the 16th century. Both structures were built on top of an older fortification tower that formed a part of the Alhambra's outer defensive wall.
The oratory contains an inscription with the name of Yusuf I (ruled 1333–1354), indicating that it was finished or decorated by this ruler. As a result, the oratory's construction has been widely attributed to Yusuf I. Art historian Marianne Barrucand states that the structure itself was likely built earlier by Muhammad III, like the rest of the Partal. Recent dendrochonological analyses, published in 2014, indicate that several of the original timber pieces used to construct the oratory's ceiling were cut in the winter of 1332–1333. This dating suggests that Yusuf I was only responsible for completing the oratory's construction, while the construction was initiated instead by one of his predecessors, most likely Isma’il I (r. 1314–1325). In modern times, the oratory was restored in 1846 by Rafael Contreras and in 1930 by Leopoldo Torres Balbás. The most recent restoration occurred between 2013 and 2017 and focused on the restoration of its wooden ceiling. The restoration uncovered, among other things, a previously obscured Arabic inscription frieze painted along the upper boards around the base of the ceiling, containing part of a surah from the Qur'an.
On the left (west) side of the tower are four Nasrid-period houses from the 14th century, which did not have their own internal courtyards. They are known today as the González Pareja House, the Villoslada house, the House of the Balconies, and the House of the Paintings. Although less impressive in design, they still contain some carved stucco decoration and are especially notable for the remnants of painted decoration, which may be the only surviving painted decoration executed by Nasrid artists. (The painted ceilings in the Hall of Kings in the Palace of the Lions, by contrast, may have been made by Christian artisans.) The mural paintings were discovered in 1907. Among other things, they depict rows of horsemen as well as tents with musicians, servants, and women of the Nasrid court.
The extensive Partal Gardens (Jardines del Partal) stretch over the area to the south of the Partal Palace and its pool. They date from the time of Gómez-Moreno (1910s-1920s) and from landscaping carried out in the 1930s. They have little relation with any original Nasrid-period elements, but the landscaping allowed for further archeological investigations and replaced what was at that time an unkempt area. Among the gardens are the remains of the foundations of other houses and urban structures.[8] One of these remains, located on the upper terrace of the gardens, belongs to a former palace known as the Palacio del Partal Alto.