Contributions of the group Urboj de la mondo

A Scene on Brahmaputra

nobody@ipernity.com (m̌ ḫ) — Sun, 07 Jun 2026 13:47:07 +0000

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The Citadel That Refused a Single Reality

nobody@ipernity.com (m̌ ḫ) — Sat, 30 May 2026 20:20:17 +0000

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Hanoi’s citadel has been rebuilt, looted, moved, and partly erased, yet it still refuses to die. It began as a Chinese fortress, then in 1010 the ruler moved his capital there after seeing a dragon omen on the Red River, and it remained Vietnam’s political heart for almost 1,000 years. Later another dynasty shifted power to Huế and reused materials from the old citadel, and the French more or less finished the job in the late 1800s by demolishing most of it for barracks and offices.

What’s left feels like a dignified ruin that knows it used to matter. You can still see the Flag Tower, the cannon‑scarred North Gate, the main gate, the former palace platform with stone dragons, a so‑called “Princess’ Palace,” sections of old walls and gates, and an underground war bunker. Archaeologists nearby keep uncovering palace foundations and fragments, which helped turn the site into a UNESCO World Heritage area, even though at first glance it looks like “some gates, a flag tower, and a lot of empty space.”

This makes my photograph oddly fitting: a real image on historic Orwo film that has survived its own small saga. First the film was mishandled and accidentally double‑exposed, then I mis‑set the film speed on the camera, and in the final act a local lab misunderstood it and developed it as black and white, after which the negative had to be painstakingly rescued, as if it insisted on telling the story anyway. While I was photographing this, I somehow managed to lose my wallet, only for it to turn up later in my hotel’s garage, where I had taken my bicycle before cycling to the citadel, so taking this photo became a miniature version of its history: things get lost, nearly erased, and yet somehow find their way back into the narrative.

Modern Bratislava

nobody@ipernity.com (m̌ ḫ) — Tue, 19 May 2026 15:25:09 +0000

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This view from Nivy Tower captures Bratislava’s transformation in one frame. The tall glass tower on the right is Eurovea Tower at 168 meters — when it opened in 2023, Bratislava became the 201st city worldwide to have a true skyscraper. What was an industrial wasteland is now a cluster of high-rises that changed the city’s entire profile. The Mlynské nivy port district had been devastated since 1944, when Allied bombers targeted the Apollo refinery supplying Nazi fuel — 370 tons of bombs killed hundreds as burning oil engulfed their shelters. The contaminated ruins sat abandoned for decades until the 2000s redevelopment finally erased that wartime scar.

Beijing bicycle

nobody@ipernity.com (m̌ ḫ) — Tue, 09 Mar 2010 10:22:17 +0000

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Candy Bomber (on film)

nobody@ipernity.com (m̌ ḫ) — Sat, 16 May 2026 16:47:26 +0000

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The airplane mounted on the roof of the Deutsches Technikmuseum in Berlin is a Douglas C‑47, the military transport version of the Douglas DC‑3. It is dramatically fixed above the entrance on a steel structure, so it appears to be flying over the city. This placement turns the aircraft into a striking landmark and an immediate visual link to Berlin’s aviation past.

The C‑47 recalls the Berlin Airlift of 1948–1949, when such planes — nicknamed “Raisin Bombers” or “Candy Bombers” — flew supplies into blockaded West Berlin and sometimes dropped sweets for children. As an exhibit, it represents both technological progress and the political history of the Cold War, symbolizing international solidarity during the blockade and the vital role of air transport in sustaining the city.

Candy Bomber (on smartphone)

nobody@ipernity.com (m̌ ḫ) — Sun, 17 May 2026 08:18:01 +0000

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ARC - I/S Amager Ressourcecenter

nobody@ipernity.com (m̌ ḫ) — Tue, 12 May 2026 19:07:28 +0000

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Amager Bakke (Copenhill) is a striking, angular building whose entire mass is wrapped in a shimmering “brick” façade of stacked aluminum panels, giving it an almost pixelated, industrial sculpture look. Its most famous feature is the sloping roof that becomes a full‑length artificial ski slope with green surface in summer and snow in winter, flanked by walking paths and a dramatic outdoor climbing wall on one side. Large, square openings and a clean, minimalistic profile make the plant read more like a contemporary cultural venue or art museum than a conventional incinerator, especially when illuminated at night. Behind this expressive architecture, the facility works as a combined heat‑and‑power plant, turning the city’s non‑recyclable waste into both district heating and electricity for surrounding households.

Mysterious unknown

nobody@ipernity.com (m̌ ḫ) — Thu, 07 May 2026 17:46:34 +0000

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Has this ever happened to you too? You get a photo back and realize it is an unfamiliar scene, taken by your own camera, yet your memory refuses to attach it to any real place. It is one of those side effects of shooting film while juggling several cameras at once… but the result is strangely fascinating.

Hanoi, a city on lakes

nobody@ipernity.com (m̌ ḫ) — Fri, 01 May 2026 14:06:47 +0000

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The Power of Nature

nobody@ipernity.com (m̌ ḫ) — Thu, 26 Mar 2026 19:19:32 +0000

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Sky Park Lightwell

nobody@ipernity.com (m̌ ḫ) — Mon, 30 Mar 2026 18:24:28 +0000

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Born in wartime Bratislava, the Jurkovič Heating Plant rose from the banks of the Danube between 1941 and 1944, designed by the legendary Slovak architect Dušan Jurkovič as the beating industrial heart of the Apollo refinery complex.

The same year it opened, Allied bombers scarred its walls — yet it kept supplying heat to the city for decades until silence finally fell over its turbines. Declared a national cultural monument in 2008, it was spared demolition and handed to architect Martin Paško and DF Creative Group, who completed its resurrection in 2021.

Their solution was bold: a sleek glass volume inserted inside the raw concrete shell, so in your photographs the two architectures confront each other across a soaring 22‑metre atrium washed with skylight and reflections. From your viewpoint, glass floors hover like calm water above the warm‑lit halls, black steel bridges stitch together old and new, and 31,736 reclaimed bricks texture the walls — a vertiginous interior landscape where industrial memory and contemporary life quite literally meet in the frame of your lens.

Mountain Goats of the City Zoo

nobody@ipernity.com (m̌ ḫ) — Sun, 29 Mar 2026 12:16:29 +0000

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Siberian ibex (Capra sibirica) rest and climb here on the rocky “Steinbockfelsen” of Zoo Berlin, a structure that offers them many ledges, caves, and vantage points reminiscent of natural cliff faces. Their permanent horns grow throughout life and, together with specially cushioned hooves, allow them to balance precisely even on narrow outcrops. Family groups usually consist of females with their kids, while the more robust males with the longest horns often stay slightly apart and keep watch over the surroundings.

Visitors can learn more about this mountain goat species and its wild habitat in Central Asia on the zoo’s information page: www.zoo-berlin.de/en/explore-the-zoo/siberian-ibex.

invisible

nobody@ipernity.com (m̌ ḫ) — Wed, 07 Apr 2021 20:48:06 +0000

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Interwar Modernism

nobody@ipernity.com (m̌ ḫ) — Sun, 08 Mar 2026 15:46:48 +0000

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Avion is a modernist residential and commercial block in Bratislava, built in the early 1930s for a cooperative of railway workers during a period of rapid change between the wars. The building often serves as a straightforward introduction both to his architecture and to the wider story of Bratislava’s transformation into a modern Central European capital in the interwar years.

It stands just outside the historic centre, with a continuous line of shops and services at street level and long ranges of flats above, planned for good light, fresh air and everyday comfort. The design follows functionalist ideas: plain rectangular masses, flat roofs, smooth façades and deep, regular balconies and loggias that give the building a clear profile. Inside, efficient layouts, large windows, central heating and modern bathrooms represented new standards of healthy middle-class city living and made the scheme one of the most advanced housing projects in Slovakia at the time.

Its architect, Jozef Marek, was part of a younger generation in interwar Czechoslovakia who treated building as a means of social improvement rather than a stage for historical ornament. By designing for railway employees, he worked directly with an emerging urban middle class that wanted better homes, more services and a modern city around them. This block is widely seen as his key work because it sums up his approach in one clear example: technically up to date, socially engaged and confident in its urban presence, adapting international functionalist ideas to local conditions in Bratislava.

Copenhagen from a boat

nobody@ipernity.com (m̌ ḫ) — Thu, 26 Feb 2026 18:21:29 +0000

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Morning light on Copenhagen’s inner harbour: the water sparkles, and the skyline turns into a simple, dark silhouette from Slotsholmen. You can make out Christiansborg Palace’s tower and the palace chapel, with the spire of Holmens Kirke further along the line. The contrast does the magic here — quiet buildings, lively water, and just enough detail to let you recognise the place without spelling it out.

Press 'z' for fullscreen with black background.

From that rooftop: a Boatride

nobody@ipernity.com (m̌ ḫ) — Sat, 21 Feb 2026 15:16:12 +0000

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Berlin in one frame: power, history, tourism, and everyday life all politely squeezing into the same picture. The Spree with the boat is the city’s moving audience, gliding past politics as if the government were just another attraction on the route. The Reichstag in the distance anchors the scene: solid, slightly solemn, but now almost used to being photographed more than feared.

Over the Roofs of Tomorrow

nobody@ipernity.com (m̌ ḫ) — Sat, 21 Feb 2026 07:26:51 +0000

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The roof of Futurium in Berlin is both an accessible city terrace and a piece of environmental technology, conceived as part of the museum’s narrative about possible futures. Architecturally, it forms a shallow basin: the sloping planes channel all rainwater to a low point, where it is collected in a cistern and reused for cooling and other non‑potable purposes, turning a simple downpour into part of the building’s technical cycle.

Almost the entire roof is covered by a dense field of photovoltaic and solar‑thermal modules – sometimes described as a “solar sea” – which supply a substantial share of Futurium’s own electricity and heat demand and support its minimum‑energy, BNB‑Gold certification.

Unusually for a technology roof of this kind, visitors are allowed onto it: a skywalk leads around the upper edge, offering views over the Spree, the government district, and the Chancellery, so the public can literally walk on the energy landscape. A bit of trivia: the architects designed roof, façade, and technical systems as one integrated envelope, so the building’s futuristic image is inseparable from the way it manages sun and water.

Dystofuturium

nobody@ipernity.com (m̌ ḫ) — Tue, 17 Feb 2026 18:27:46 +0000

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Of course, it’s possible to take a more polished or descriptive photograph of the Futurium – one of Berlin’s most forward‑looking landmarks, a place where architecture meets imagination. Conceived as a museum of the future, it invites visitors to explore visions of science, technology and sustainable living. Its sleek glass façade mirrors both the sky and the city around it, symbolising transparency and an enduring curiosity about what lies ahead. Yet in the background, the faint silhouette of the S‑Bahn provides a striking contrast – an echo of urban realism, perhaps even a quiet dystopian whisper beneath Berlin’s gleaming promise of tomorrow.

Why they call him a river horse???

nobody@ipernity.com (m̌ ḫ) — Sat, 07 Feb 2026 22:13:06 +0000

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Some time ago, I learned that there are two living kinds of hippos. The common hippo is the big, heavy river animal most people imagine first – noisy crowds in muddy water, huge mouths, a very “don’t‑mess‑with‑me” attitude.

The animal in my photo is a pygmy hippo: smaller, more compact, with smoother skin and a quieter, self‑contained pose. From my perspective, this isn’t just “a hippo picture”; it’s a portrait of the shy forest cousin of the common hippo, caught in a rare, calm moment in front of my camera. And what I like most is knowing that both hippos are, surprisingly, closer relatives of whales and dolphins than of cows or pigs.

Golden Tower

nobody@ipernity.com (m̌ ḫ) — Thu, 05 Feb 2026 16:26:36 +0000

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Standing 63 metres tall, Det Gyldne Tårn is a masterclass in thematic engineering, utilising a compressed-air system that ensures a consistent -1 G force regardless of rider weight—a technical nuance that distinguishes it from standard gravity-fed drop towers. While its white-and-gold aesthetic was specifically designed to harmonise with the Moorish-inspired architecture of the adjacent Nimb Hotel, the tower's summit offers a secret vantage point from which the Øresund Bridge is visible on clear days, physically linking the view to Sweden. Interestingly, the ride's "Space Shot" technology was pioneered by the same firm that revolutionised pneumatic launches, allowing the tower to "fire" passengers downward faster than a free-fall. This blend of ultra-modern physics and 19th-century visual storytelling perfectly encapsulates the "Tivoli style" that famously inspired Walt Disney to build his own theme parks