The Paris Catacombs are a story of multigenerational effects: the mining of limestone for Paris’s characteristic buildings, the collapses of buildings into the voids the mining created, the efforts to reinforce the cavities, and ultimately the decades-long project to transfer the remains of six million Parisians to the space. At this point, it has earned the name “Empire of the Dead”.
This is a big week for images of annular objects and I want to make my contribution from a less cutting-edge end of the spectrum: looking up a shaft from inside the Paris Catacombs. The rainy day at the other end of this portal means umbrellas obscure the sky.
From modern lasers to something a bit older: the lakeside view of Mohonk Mountain House, looking much as it has for more than 100 years. The sheer face of the cliff contines into the structure and reflects in the water.
Thirteen years ago, I took this picture out the window of my dorm room in Trinity College’s Jarvis Hall. Over the years of renovations and upgrades between then and now, I don’t believe the room or the tree are still there. The iconic Neo-Gothic windows, however, are still there.
From the Interstate across Nevada, the desert landscape astonishes me with its variety. Far from being a boring wasteland, the expanses of waving grasses, shrubs, shallow water, and rock hills provide a spectacular mixture. Even when I know the biology and ecology behind it, my east-coast-calibrated brain still can’t quite grasp that all of this water doesn’t equal trees.
Grizzly Peak’s high vantage point means that a plethora of Bay Area landmarks can be stacked together in one image: From the faintest shadow of the Farallon Islands beyond the bridge, to the Golden Gate, Alcatraz, the Berkeley Marina, the busy travelers on University Avenue, to the Joint Center of Artificial Photosynthesis atop a hill in Berkeley Lab.