360° panorama by AKor Foto.
Click the image to open the interactive version.

https://www.360cities.net/image/above-house-number-19-on-kommunisticheskaya-street-novocheboksarsk-russia

360° panorama by AKor Foto.
Click the image to open the interactive version.

http://www.360cities.net/image/above-house-number-19-on-kommunisticheskaya-street-novocheboksarsk-russia

360° panorama by AKor Foto.
Click the image to open the interactive version.

https://www.360cities.net/image/above-the-pond-near-the-village-of-koderkasy-novocheboksarsk-russia

360° panorama by AKor Foto.
Click the image to open the interactive version.

http://www.360cities.net/image/above-the-pond-near-the-village-of-koderkasy-novocheboksarsk-russia

https://www.360cities.net/image/porto-casa-de-serralves-art-deco-west-living-room-portugal

http://www.360cities.net/image/porto-casa-de-serralves-art-deco-west-living-room-portugal

360° panorama by Vasilis Triantafyllou.
Click the image to open the interactive version.

https://www.360cities.net/image/virtual-mount-tempi-petalo-lalao-climbing-sector-greece

360° panorama by Vasilis Triantafyllou.
Click the image to open the interactive version.

http://www.360cities.net/image/virtual-mount-tempi-petalo-lalao-climbing-sector-greece

http://www.360cities.net/image/porto-casa-de-serralves-art-deco-main-hall-portugal

https://www.360cities.net/image/porto-casa-de-serralves-art-deco-main-hall-portugal

360° panorama by Santiago Ribas - 360portugal.
Click the image to open the interactive version.

The Serralves house is a unique example of a villa-garden complex with art deco architecture. Built during the interval between the two world wars 1925-1940, with great decorative rigor and quality of materials, which involved the most famous architects and decorators of that time, such as Marques da Silva, Charles Siclis, Emile Ruhlmann, Ren'e Lalique, Edgar Brandt and the pasiagista Jacques Gr'eber. The Mata-Sete farm, which belonged to his mother Maria Em'ilia Magalh~aes, had a romantic garden, a chapel from 1882 and a house from 1918. The history of Casa de Serralves began in the early 1920s after Carlos Alberto Cabral (1895-1968), 2nd Count of Vizela, inherited his family's summer farm. A cultured and well-traveled man, he had an attraction for modernity and cosmopolitan living. In 1927 he hired the architect who had already worked with his family, Marques da Silva, and asked for the extension of the existing house in the Quinta, located where the current one is today. The process of adding and enlarging the existing house, ends up forcing the old house to be demolished in 1934, but keeping the original chapel standing, although camouflaged by a new dressing of walls and futuristic tower. Between December 1929 and January 1930, the famous Charles Sicilis (1889-1944) designed a project for the exterior of the house, which unifies all parts of it, maintaining the most important north-south, east-west axes of growth of the house , and which relate it to Marques da Silva's initial idea for the garden, which in the meantime was developed by Landscape Architect Jacques Gr'eber (1882-1962). The house has a north-south axis, which links it between Serralves street, its formal entrance facing that street, the central hall of the house, and the large dining room facing south and its open garden and good sunshine. . The other east-west axis is marked by the development of the growth of the house from the chapel, in the west direction, and with the living room facing the other open garden, parallel to the great avenue of large trees in the direction of Av.Gomes da Costa that would still be built in 1939. The authorship of the House can be attributed, with some care, to the French architect Charles Siclis (1889-1944), whose contribution proved to be decisive in the overall design of the project, and to Jos'e Marques da Silva (author of the projects for the S~ao Bento Station and the National Theater of S~ao Jo~ao, both in Porto) that developed, altered and performed it. Carlos Alberto Cabral, Jacques 'Emile Ruhlmann (1879-1933) and later Alfred Porteneuve (1896-1949), his nephew and architect by profession, also intervened in the project. Some of the most important European names in the field of furniture design contributed to the interior of Casa de Serralves: Ruhlmann, Ren'e Lalique (1880-1945), Edgar Brandt (1880-1960), Ivan da Silva Bruhns (1881-1980), Jules Leleu (1883-1961), Jean Perzel (1892-1986) and Raymond Subes (1893-1970). Carlos Alberto and his wife Blanche Daubin were to settle in the House in 1944, however they lived there for a few years. In 1955, the property was sold to Delfim Ferreira (1888-1960), on condition that the property was not subject to any transformation. The commitment was fully respected. Much of the furniture was sold at auctions, and is now dispersed. In 1987, the Portuguese State acquired the property from the heirs of Delfim Ferreira with the intention of installing a museum of modern art. The House was opened to the public that same year, as a place for modern and contemporary art exhibitions until the opening, in 1999, of the new Museum of Contemporary Art in Serralves, designed by the architect 'Alvaro Siza Vieira. In 2004, Siza supervised the restoration of the House and its interiors. Providing spaces for exhibitions and projects by artists integrated in the program of the Museum of Contemporary Art, Casa de Serralves constitutes, due to its architecture and design, a museum in its own right.

http://www.360cities.net/image/porto-casa-de-serralves-art-deco-vestibule-portugal

360° panorama by Santiago Ribas - 360portugal.
Click the image to open the interactive version.

The Serralves house is a unique example of a villa-garden complex with art deco architecture. Built during the interval between the two world wars 1925-1940, with great decorative rigor and quality of materials, which involved the most famous architects and decorators of that time, such as Marques da Silva, Charles Siclis, Emile Ruhlmann, Ren'e Lalique, Edgar Brandt and the pasiagista Jacques Gr'eber. The Mata-Sete farm, which belonged to his mother Maria Em'ilia Magalh~aes, had a romantic garden, a chapel from 1882 and a house from 1918. The history of Casa de Serralves began in the early 1920s after Carlos Alberto Cabral (1895-1968), 2nd Count of Vizela, inherited his family's summer farm. A cultured and well-traveled man, he had an attraction for modernity and cosmopolitan living. In 1927 he hired the architect who had already worked with his family, Marques da Silva, and asked for the extension of the existing house in the Quinta, located where the current one is today. The process of adding and enlarging the existing house, ends up forcing the old house to be demolished in 1934, but keeping the original chapel standing, although camouflaged by a new dressing of walls and futuristic tower. Between December 1929 and January 1930, the famous Charles Sicilis (1889-1944) designed a project for the exterior of the house, which unifies all parts of it, maintaining the most important north-south, east-west axes of growth of the house , and which relate it to Marques da Silva's initial idea for the garden, which in the meantime was developed by Landscape Architect Jacques Gr'eber (1882-1962). The house has a north-south axis, which links it between Serralves street, its formal entrance facing that street, the central hall of the house, and the large dining room facing south and its open garden and good sunshine. . The other east-west axis is marked by the development of the growth of the house from the chapel, in the west direction, and with the living room facing the other open garden, parallel to the great avenue of large trees in the direction of Av.Gomes da Costa that would still be built in 1939. The authorship of the House can be attributed, with some care, to the French architect Charles Siclis (1889-1944), whose contribution proved to be decisive in the overall design of the project, and to Jos'e Marques da Silva (author of the projects for the S~ao Bento Station and the National Theater of S~ao Jo~ao, both in Porto) that developed, altered and performed it. Carlos Alberto Cabral, Jacques 'Emile Ruhlmann (1879-1933) and later Alfred Porteneuve (1896-1949), his nephew and architect by profession, also intervened in the project. Some of the most important European names in the field of furniture design contributed to the interior of Casa de Serralves: Ruhlmann, Ren'e Lalique (1880-1945), Edgar Brandt (1880-1960), Ivan da Silva Bruhns (1881-1980), Jules Leleu (1883-1961), Jean Perzel (1892-1986) and Raymond Subes (1893-1970). Carlos Alberto and his wife Blanche Daubin were to settle in the House in 1944, however they lived there for a few years. In 1955, the property was sold to Delfim Ferreira (1888-1960), on condition that the property was not subject to any transformation. The commitment was fully respected. Much of the furniture was sold at auctions, and is now dispersed. In 1987, the Portuguese State acquired the property from the heirs of Delfim Ferreira with the intention of installing a museum of modern art. The House was opened to the public that same year, as a place for modern and contemporary art exhibitions until the opening, in 1999, of the new Museum of Contemporary Art in Serralves, designed by the architect 'Alvaro Siza Vieira. In 2004, Siza supervised the restoration of the House and its interiors. Providing spaces for exhibitions and projects by artists integrated in the program of the Museum of Contemporary Art, Casa de Serralves constitutes, due to its architecture and design, a museum in its own right.

https://www.360cities.net/image/porto-casa-de-serralves-art-deco-vestibule-portugal

360° panorama by Santiago Ribas - 360portugal.
Click the image to open the interactive version.

The Serralves house is a unique example of a villa-garden complex with art deco architecture. Built during the interval between the two world wars 1925-1940, with great decorative rigor and quality of materials, which involved the most famous architects and decorators of that time, such as Marques da Silva, Charles Siclis, Emile Ruhlmann, Ren'e Lalique, Edgar Brandt and the pasiagista Jacques Gr'eber. The Mata-Sete farm, which belonged to his mother Maria Em'ilia Magalh~aes, had a romantic garden, a chapel from 1882 and a house from 1918. The history of Casa de Serralves began in the early 1920s after Carlos Alberto Cabral (1895-1968), 2nd Count of Vizela, inherited his family's summer farm. A cultured and well-traveled man, he had an attraction for modernity and cosmopolitan living. In 1927 he hired the architect who had already worked with his family, Marques da Silva, and asked for the extension of the existing house in the Quinta, located where the current one is today. The process of adding and enlarging the existing house, ends up forcing the old house to be demolished in 1934, but keeping the original chapel standing, although camouflaged by a new dressing of walls and futuristic tower. Between December 1929 and January 1930, the famous Charles Sicilis (1889-1944) designed a project for the exterior of the house, which unifies all parts of it, maintaining the most important north-south, east-west axes of growth of the house , and which relate it to Marques da Silva's initial idea for the garden, which in the meantime was developed by Landscape Architect Jacques Gr'eber (1882-1962). The house has a north-south axis, which links it between Serralves street, its formal entrance facing that street, the central hall of the house, and the large dining room facing south and its open garden and good sunshine. . The other east-west axis is marked by the development of the growth of the house from the chapel, in the west direction, and with the living room facing the other open garden, parallel to the great avenue of large trees in the direction of Av.Gomes da Costa that would still be built in 1939. The authorship of the House can be attributed, with some care, to the French architect Charles Siclis (1889-1944), whose contribution proved to be decisive in the overall design of the project, and to Jos'e Marques da Silva (author of the projects for the S~ao Bento Station and the National Theater of S~ao Jo~ao, both in Porto) that developed, altered and performed it. Carlos Alberto Cabral, Jacques 'Emile Ruhlmann (1879-1933) and later Alfred Porteneuve (1896-1949), his nephew and architect by profession, also intervened in the project. Some of the most important European names in the field of furniture design contributed to the interior of Casa de Serralves: Ruhlmann, Ren'e Lalique (1880-1945), Edgar Brandt (1880-1960), Ivan da Silva Bruhns (1881-1980), Jules Leleu (1883-1961), Jean Perzel (1892-1986) and Raymond Subes (1893-1970). Carlos Alberto and his wife Blanche Daubin were to settle in the House in 1944, however they lived there for a few years. In 1955, the property was sold to Delfim Ferreira (1888-1960), on condition that the property was not subject to any transformation. The commitment was fully respected. Much of the furniture was sold at auctions, and is now dispersed. In 1987, the Portuguese State acquired the property from the heirs of Delfim Ferreira with the intention of installing a museum of modern art. The House was opened to the public that same year, as a place for modern and contemporary art exhibitions until the opening, in 1999, of the new Museum of Contemporary Art in Serralves, designed by the architect 'Alvaro Siza Vieira. In 2004, Siza supervised the restoration of the House and its interiors. Providing spaces for exhibitions and projects by artists integrated in the program of the Museum of Contemporary Art, Casa de Serralves constitutes, due to its architecture and design, a museum in its own right.

https://www.360cities.net/image/porto-casa-de-serralves-art-deco-vestibule-portugal

360° panorama by Santiago Ribas - 360portugal.
Click the image to open the interactive version.

In its origin Miragaia was a land of fishermen. As such, it is natural that his patron saint was the holy fisherman, S~ao Pedro. The church of S~ao Pedro de Miragaia that we can see today is the most recent of several others that will have existed in that same place. It originated in the Middle Ages and will have had different configurations and aspects. Later, the small fishing village ended up approaching Porto, thanks to the spatial expansion of the city, which forced the construction of the second belt of walls, the Fernandina Wall, which already had half walls with the so-called Arrabalde de Miragaia. The fishermen, who were on the beach of Miragaia, would eventually move to more distant areas of Porto, at least the majority, to Lordelo or Afurada. The Miragaia beach was then occupied by the shipyards where many of the vessels used in the Portuguese overseas expansion and in Porto's trade with Northern Europe were built. In 1672, Bishop D. Nicolau Monteiro reformed the church. Nothing unusual, given that each bishop liked to immortalize his time in the diocese in the village stone. But that was not all that moved the works. The church, over the years, the population growth and, consequently, the number of the faithful, was too small. In 1740, it was partially demolished, using only the chancel and the transept in the current construction. It is from this campaign of works that the current church results. The church is very simple. The facade has a pedimented portal and a large meshed window and is topped by a triangular pediment with the legend «Divo Petro Dicata» (Dedicated to S. Pedro) and topped by a cross. The walls were covered with tiles between 1863 and 1876. The church's unique nave is enriched only by the gilded altar dedicated to Nossa Senhora do Carmo, which belonged to the church of the extinct and ruined Monchique Convent and by the altar of Santa Rita, from XVII century. The chancel is covered with carved reinforced with elements from Monchique

http://www.360cities.net/image/porto-church-of-sao-pedro-de-miragaia-facade-portugal

360° panorama by Santiago Ribas - 360portugal.
Click the image to open the interactive version.

In its origin Miragaia was a land of fishermen. As such, it is natural that his patron saint was the holy fisherman, S~ao Pedro. The church of S~ao Pedro de Miragaia that we can see today is the most recent of several others that will have existed in that same place. It originated in the Middle Ages and will have had different configurations and aspects. Later, the small fishing village ended up approaching Porto, thanks to the spatial expansion of the city, which forced the construction of the second belt of walls, the Fernandina Wall, which already had half walls with the so-called Arrabalde de Miragaia. The fishermen, who were on the beach of Miragaia, would eventually move to more distant areas of Porto, at least the majority, to Lordelo or Afurada. The Miragaia beach was then occupied by the shipyards where many of the vessels used in the Portuguese overseas expansion and in Porto's trade with Northern Europe were built. In 1672, Bishop D. Nicolau Monteiro reformed the church. Nothing unusual, given that each bishop liked to immortalize his time in the diocese in the village stone. But that was not all that moved the works. The church, over the years, the population growth and, consequently, the number of the faithful, was too small. In 1740, it was partially demolished, using only the chancel and the transept in the current construction. It is from this campaign of works that the current church results. The church is very simple. The facade has a pedimented portal and a large meshed window and is topped by a triangular pediment with the legend «Divo Petro Dicata» (Dedicated to S. Pedro) and topped by a cross. The walls were covered with tiles between 1863 and 1876. The church's unique nave is enriched only by the gilded altar dedicated to Nossa Senhora do Carmo, which belonged to the church of the extinct and ruined Monchique Convent and by the altar of Santa Rita, from XVII century. The chancel is covered with carved reinforced with elements from Monchique

https://www.360cities.net/image/porto-church-of-sao-pedro-de-miragaia-facade-portugal

360° panorama by Santiago Ribas - 360portugal.
Click the image to open the interactive version.

In its origin Miragaia was a land of fishermen. As such, it is natural that his patron saint was the holy fisherman, S~ao Pedro. The church of S~ao Pedro de Miragaia that we can see today is the most recent of several others that will have existed in that same place. It originated in the Middle Ages and will have had different configurations and aspects. Later, the small fishing village ended up approaching Porto, thanks to the spatial expansion of the city, which forced the construction of the second belt of walls, the Fernandina Wall, which already had half walls with the so-called Arrabalde de Miragaia. The fishermen, who were on the beach of Miragaia, would eventually move to more distant areas of Porto, at least the majority, to Lordelo or Afurada. The Miragaia beach was then occupied by the shipyards where many of the vessels used in the Portuguese overseas expansion and in Porto's trade with Northern Europe were built. In 1672, Bishop D. Nicolau Monteiro reformed the church. Nothing unusual, given that each bishop liked to immortalize his time in the diocese in the village stone. But that was not all that moved the works. The church, over the years, the population growth and, consequently, the number of the faithful, was too small. In 1740, it was partially demolished, using only the chancel and the transept in the current construction. It is from this campaign of works that the current church results. The church is very simple. The facade has a pedimented portal and a large meshed window and is topped by a triangular pediment with the legend «Divo Petro Dicata» (Dedicated to S. Pedro) and topped by a cross. The walls were covered with tiles between 1863 and 1876. The church's unique nave is enriched only by the gilded altar dedicated to Nossa Senhora do Carmo, which belonged to the church of the extinct and ruined Monchique Convent and by the altar of Santa Rita, from XVII century. The chancel is covered with carved reinforced with elements from Monchique

https://www.360cities.net/image/porto-church-of-sao-pedro-de-miragaia-facade-portugal

360° panorama by Santiago Ribas - 360portugal.
Click the image to open the interactive version.

In its origin Miragaia was a land of fishermen. As such, it is natural that his patron saint was the holy fisherman, S~ao Pedro. The church of S~ao Pedro de Miragaia that we can see today is the most recent of several others that will have existed in that same place. It originated in the Middle Ages and will have had different configurations and aspects. Later, the small fishing village ended up approaching Porto, thanks to the spatial expansion of the city, which forced the construction of the second belt of walls, the Fernandina Wall, which already had half walls with the so-called Arrabalde de Miragaia. The fishermen, who were on the beach of Miragaia, would eventually move to more distant areas of Porto, at least the majority, to Lordelo or Afurada. The Miragaia beach was then occupied by the shipyards where many of the vessels used in the Portuguese overseas expansion and in Porto's trade with Northern Europe were built. In 1672, Bishop D. Nicolau Monteiro reformed the church. Nothing unusual, given that each bishop liked to immortalize his time in the diocese in the village stone. But that was not all that moved the works. The church, over the years, the population growth and, consequently, the number of the faithful, was too small. In 1740, it was partially demolished, using only the chancel and the transept in the current construction. It is from this campaign of works that the current church results. The church is very simple. The facade has a pedimented portal and a large meshed window and is topped by a triangular pediment with the legend «Divo Petro Dicata» (Dedicated to S. Pedro) and topped by a cross. The walls were covered with tiles between 1863 and 1876. The church's unique nave is enriched only by the gilded altar dedicated to Nossa Senhora do Carmo, which belonged to the church of the extinct and ruined Monchique Convent and by the altar of Santa Rita, from XVII century. The chancel is covered with carved reinforced with elements from Monchique

http://www.360cities.net/image/porto-church-of-sao-pedro-de-miragaia-nave-portugal

360° panorama by Santiago Ribas - 360portugal.
Click the image to open the interactive version.

In its origin Miragaia was a land of fishermen. As such, it is natural that his patron saint was the holy fisherman, S~ao Pedro. The church of S~ao Pedro de Miragaia that we can see today is the most recent of several others that will have existed in that same place. It originated in the Middle Ages and will have had different configurations and aspects. Later, the small fishing village ended up approaching Porto, thanks to the spatial expansion of the city, which forced the construction of the second belt of walls, the Fernandina Wall, which already had half walls with the so-called Arrabalde de Miragaia. The fishermen, who were on the beach of Miragaia, would eventually move to more distant areas of Porto, at least the majority, to Lordelo or Afurada. The Miragaia beach was then occupied by the shipyards where many of the vessels used in the Portuguese overseas expansion and in Porto's trade with Northern Europe were built. In 1672, Bishop D. Nicolau Monteiro reformed the church. Nothing unusual, given that each bishop liked to immortalize his time in the diocese in the village stone. But that was not all that moved the works. The church, over the years, the population growth and, consequently, the number of the faithful, was too small. In 1740, it was partially demolished, using only the chancel and the transept in the current construction. It is from this campaign of works that the current church results. The church is very simple. The facade has a pedimented portal and a large meshed window and is topped by a triangular pediment with the legend «Divo Petro Dicata» (Dedicated to S. Pedro) and topped by a cross. The walls were covered with tiles between 1863 and 1876. The church's unique nave is enriched only by the gilded altar dedicated to Nossa Senhora do Carmo, which belonged to the church of the extinct and ruined Monchique Convent and by the altar of Santa Rita, from XVII century. The chancel is covered with carved reinforced with elements from Monchique

https://www.360cities.net/image/porto-church-of-sao-pedro-de-miragaia-nave-portugal

360° panorama by Cleyton Alisson.
Click the image to open the interactive version.

http://www.360cities.net/image/camila-e-raphael

360° panorama by Gary Davies.
Click the image to open the interactive version.

Located close to other ancient stone circles and cairns in Kilmartin Glen, the Nether Largie standing stones comprise five tall, decorated standing stones arranged in an 'X' formation. They were erected about 3,200 years ago during the Bronze Age.  Their deliberate alignment has led to a theory that they were possibly used as a lunar observatory. 

http://www.360cities.net/image/nether-largie-standing-stones-kilmartin-glen-scotland