This image was taken from Exchange Place on the Jersey City waterfront, just across the Hudson River from Lower Manhattan.

The building features a dark glass curtain wall and a distinctive sawtooth facade that creates additional corner offices and enhances natural light. This also creates terraces that are planted with trees that from the sidewalk below, appear to be growing directly out of the skyscraper.

Reflected in the modernist glass pains of the building is the limestone and gold trim of the ornate French Renaissance style Crown Building (1922) across Fifth Avenue.

Designed by Charles Girault, it blends classical grandeur with turn-of-the-century urban elegance. In this image, at the heart of the main façade, approximately 130–150 m wide, stands a striking monumental porch, reached by a broad ceremonial staircase. Above it rises a graceful dome, echoing the silhouette of Les Invalides across the Seine. Filling the semi-circular tympanum above the doorway is a powerful allegory by Jean‑Antoine Injalbert, depicting the City of Paris reclining among the Muses, holding a ship emblematic of the Seine. Flanking this central group are sculptural ensembles: on the left, “The Four Seasons” by Louis Convers, and on the right, “The Seine and Its Tributaries” by Maurice Ferrary.

Architecturally, the building is notable for its dramatic tensile-fabric roof and large glass exhibition spaces facing the harbor. The structure contains approximately 250,000 square feet of space and serves as a mix of research, education, office, conference, and event facilities.

In 1998, the University System of Maryland acquired the facility. Today it houses the Institute of Marine and Environmental Technology (IMET), a collaborative research institute involving the University System of Maryland's environmental, biomedical, and marine-science programs. It also hosts startup incubators, laboratories, offices, and public events.

The building was renamed the Rita Rossi Colwell Center in 2022–2023 to honor Rita Rossi Colwell, the internationally renowned microbiologist who served as the first female director of the National Science Foundation from 1998 to 2004. Colwell was instrumental in creating the original Columbus Center and advancing marine biotechnology research in Maryland.

From this angle, the Empire State Building in Manhattan appears centered in the arch in the lower part of the Brooklyn-side tower. This is totally coincidental, as the ESB came a full two decades after the bridge.

The Manhattan Bridge was the problem child of New York City’s great East River bridges right from the time it was opened on New Years Day 1910. It was one of the first major suspension bridges to carry heavy subway tracks within its structure. The placement of the tracks near the outer edges of the bridge caused severe twisting and vibration whenever trains crossed, leading to decades of structural stress, cracked members, and continual maintenance problems. Beginning in the 1980s, engineers undertook a comprehensive reconstruction that strengthened the bridge and rebuilt the track structure to better distribute loads and reduce torsional forces. By the early 2000s, all four subway tracks had been restored to service, and the bridge's long-standing stability problems were largely resolved.

Designed by architect Daniel Burnham and completed in 1907, the structure reflects Beaux-Arts and neoclassical influences inspired by ancient Roman architecture. The white granite columns support a richly detailed entablature and arched openings, creating a sense of scale, symmetry, and civic grandeur.

Facing Columbus Circle near the United States Capitol, the colonnade serves as a defining architectural element of Washington, D.C.’s monumental core and a prominent example of early 20th-century American civic design.

The present building was constructed in 1924–1925, designed by Portland architects William R. Miller and Raymond J. Mayo. It replaced earlier central fire facilities on the site. Architecturally, it is a striking example of civic Classical Revival / Beaux-Arts-influenced municipal design, from the era when cities often made even utilitarian buildings visually impressive.

O’Kane Hall was built in 1895 and attached to the older Fenwick Hall complex, the original Holy Cross building dating from 1843. It was designed by the architectural firm Fuller & Delano.

The building is named for Rev. John J. O’Kane, S.J., a Jesuit president of Holy Cross in the late 19th century. Its construction reflected Holy Cross’s growth during a period when American Catholic higher education was expanding rapidly.

Architecturally, O’Kane Hall is notable for its stone tower and clock, which help define the classic Holy Cross skyline seen from Worcester and from the lower campus.

The building blends with Fenwick Hall’s historic architectural vocabulary - a mixture of Collegiate Gothic, Second Empire, and late-19th-century institutional styles. The Fenwick–O’Kane area is important enough historically that it is listed on the National Register of Historic Places.

It's known for its distinctive red-brick façade and intricate details. The architrave, a feature seldom seen constructed in brick, is especially unique. The building houses classrooms and lecture halls used by various departments, primarily in the humanities and social sciences. Sever Hall is considered an architectural masterpiece and has been designated a National Historic Landmark.

At the center of the building is its famous gold dome — originally wood-shingled, later coppered by Paul Revere’s company, and eventually gilded with 23-karat gold leaf. On top of the dome sits a gilded pine cone, symbolizing the importance of New England’s forests to the colony’s survival and economy.

The original building was designed by Charles Bulfinch, one of America’s first major native-born architects. Construction began in 1795 and the building was completed in 1798. Bulfinch drew inspiration from British neoclassical architecture, especially Somerset House in London, but adapted it into what became a distinctly American Federal style.

Architecturally, the State House is important because it helped define the appearance of civic government buildings in the early United States:

• symmetrical Federal-style composition,

• red brick with white trim,

• classical columns and pediments,

• and a prominent central dome representing republican government.

Its influence can be seen in later capitol buildings across the country.

The Vines is a historic pub in Liverpool, renowned for its stunning Victorian architecture and opulent interior design. Located on Lime Street, near Liverpool Lime Street railway station, it is one of the city's most famous and well-preserved public houses.

The Vines was built in 1907 for brewery owner Robert Cain, a prominent figure in Liverpool’s brewing industry. It was designed by Walter W. Thomas, a noted architect of the time. The exterior of The Vines is marked by its ornate stone façade, large arched windows, and detailed carvings. The grand entrance is indicative of the lavish style popular in the early 20th century.

The 17-story building, completed in in 1922, was designed by architect Emory Roth.

Most people, New Yorkers and visitors alike, view the Garment District as dull and gray, grim even. But architecturally, at least, the Garment District can be interesting and even whimsical. Keep a sharp lookout upward as you walk through the District and you'll find trolls, grotesques, and mascarons. You'll also find a variety of old-fashioned craftsmanship, from intricate bricklaying to marble, granite, and terra-cotta sculpture.

The building was completed in 1883 as Peabody’s Town Hall, before the town officially became a city in 1916. It was designed by architect Rufus Sargent of Newburyport.

Architecturally, the building’s most recognizable Second Empire features are:

• The steep marsard roof

• Corner pavilion/turret elements

• Red brick with granite trim

• Tall arched windows

• Symmetrical civic composition

The French King Bridge spans the Connecticut River, connecting the towns of Gill and Erving in western Massachusetts. It carries Massachusetts Route 2 over the river, and is part of the historic Mohawk Trail scenic byway. It is just upstream of the confluence of the Connecticut with its tributary, Millers River. The bridge deck is 140 feet above the river, its total length is 782 feet, and its center arch spans 460 feet. Construction began in September 1931, completed in 1932. Opened for traffic on September 10, 1932.

The bridge is named for French King Rock, a rock outcrop in the middle of the river just upstream. The rock was itself named during the French and Indian Wars: local legend holds that a French officer in a scouting party used it as a landmark, referring to his monarch, the French King.

The view here is from just before the mouth of a tributary to the Connecticut River, Millers River.

What makes the tramway really special is that it is cable-hauled (like the trolleys in San Francisco) not powered by electric traction motors. The tramcars are vintage-style and mostly unchanged in concept since 1902. Some grades reach 26%, which is extremely steep for a street-running railway. streets before transitioning into a more traditional hillside railway.

The lower terminus is at Victoria Station in Llandudno, near the base of the Great Orme and not far from the promenade. The ride is about 1 mile (1.6 km) long in total and climbs roughly 680 feet (about 207 meters) from the town to near the summit of the Great Orme. Passengers change cars at the Halfway Station. The lower and upper sections use different cable systems and slightly different tramcars, so everyone gets off and transfers there.

What makes DUMBO especially famous is the combination of:

• Massive 19th-century brick warehouse buildings

• Cobblestone streets

• Bridge infrastructure towering overhead

• Spectacular views of Lower Manhattan

• Excellent waterfront access

For photographers, it is always a playground. But in this case, it was just a vibrant mural that tells the story.