I'm beginning to see the light. I'm a believer. I'm alive. I'm into something good. I'm leaving on a jet plane. I'm every woman. I'm not afraid of anything. I'm on to you. I'm only happy when it rains. I'm walking on sunshine. I'm the only one. I'm too sexy. I'm still standing. I am a rock. I'm like a bird. I'm no angel. I am the walrus. I'm easy like Sunday morning. I'm just a singer in a rock & roll band. I'm a daughter, sister, mother. I'm gonna be starting something. I am unfinished on a lot of things. I am not as strong as you think. I'm not kidding. I'm a green eyed girl. I'm finding beauty in hidden places. I'm counting my lucky stars. I am a freak for amazing architecture. I am the girl next door. I am my mother's daughter. I am totally in love with my three girls. I am into you. I am what I am. I'm a girl living in the Windy City and loving it. I am that girl.
find me here: heylola at rocketmail dot com
Pani Jurek’s amazing test tube chandeliers, which is made to give an art-deco form with a dramatic twist. They are customisable and can be filled with water, colours, plants, anything you like!
Find on Etsy here:
— ~ Anna Peters
By Jordi Huisman
The view from the rear of a residential building in an old city exhibits the ways in which people influence their surroundings. When a new building block is designed and built as a single structure and concept it acquires a uniformity and alignment; in older cities a much more fragmented and spontaneous architecture emerges. This architectural informality is in direct contrast with the façade of a building, which is much more aware of its appearance.
The Rear Window series focuses on the rear of buildings in European capitals. While one balcony becomes home to a large satellite dish, the neighbouring balcony becomes storage space; a small tree once planted in the courtyard has grown into a massive obstacle. There is also an element of the voyeuristic: meticulous exposures resolve small details in the houses and lives of their residents which were never meant to be outwardly visible.
By photographing these scenes in different capitals, national differences and global chaos are captured.
Oh the demons come, they can subside
— ~ John Green (Looking for Alaska)