Unique Public Toilets Around the World

If you have done any extensive travelling you will have been introduced to various types of toilets (washrooms, etc.) around the world. Some not so nice, like those at some gas stations in North America to opulent bathrooms in higher end hotels. Access to these may be free, through a key on a peg or a swipe card, to a metered door lock but everyone needs a place to relieve themselves from time to time and the older you get the more frequently you need to use these facilities. I believe there is even an app now that tells you where a convenient location exists near you at anytime.

You cannot begin to understand my excitement and pleasure at coming across public toilets in New Zealand and Australia. They have taken mural art to the nth degree far from the boring half moon door in the outhouse behind a cottage in northern Ontario.

Bathroom in Lake Taupo
Women’s toilet in Napier
Men’s toilet in Napier, New Zealand

We have also come across some very inventive banos in Mexico on our travels. Sometimes just the markers that let you know whether they are male or female or unisex are pretty cool.

Institute of Art in San Miguel de Allende bano
Public Bathroom in Puerto Vallarta
Outhouse at Chapel of Jimmy Ray

Some unique restrooms that we have heard of but not yet experienced are:

1. A toilet in Arosa, Switzerland that is made of glass and sits over an old elevator shaft, letting you look straight down while you do your business through clear glass.

2. A club in Frankfurt, Germany where men step inside a giant, glittering set of red lips to use the urinal.

3. Kawakawa, New Zealand features public toilets designed by artist Friedensreich Hundertwasser using colorful tiles, stained glass, and a living tree growing right through the roof.

4. Tianmen Mountain in China features a clear glass restroom built onto the side of a sheer rock cliff, offering massive canyon views.

5. The Ice Igloo Restroom in Norway is built seasonally near famous hiking trails; these minimalist stalls freeze your surroundings into a stunning winter wonderland.

Blue Star Memorial Hwy rest stop on the way to Nashville,Tennessee

What are some of the best/worst public toilets you’ve experienced?

A goddess in repose

Lalique Glass: From Jewelry to Iconic Art Deco and the ROM connection.

The Lalique company was founded by René Lalique – a leading figure of the Art Nouveau movement. He designed jewels, perfume bottles and art objects with curved lines inspired by flora, fauna and feminine figures, using original materials like horn, coloured glass or semi-precious stones.  

In 1907, perfumer François Coty commissioned Lalique to design elegant labels and bottles. This sparked a permanent shift in Lalique’s career from unique, handmade jewelry to high-quality, mass-produced glasswork. He revolutionized the perfume industry by making beautiful packaging affordable to the public.

By the time the Art Deco movement peaked at the 1925 Paris Exposition, Lalique was famous for his molded, opalescent glass. His studio produced everything from luxury vases to monumental glass fountains and the dining saloon doors for the ocean liner SS Normandie.  

Between 1925 and 1931, René Lalique created a famous series of 29 or 30 molded glass hood ornaments intended to adorn the radiator caps of luxury Art Deco automobiles (such as Packards, Bugattis, and Bentleys). They were illuminated from below by small colored bulbs wired into the car’s electric system. He successfully bridged the gap between fine art and industrial manufacturing, creating a luxury glass brand that still operates today.

Grande Libellule by Rene Lalique

Built in 1920 by legendary glassmaker and jeweler René Lalique, the Villa René Lalique in Wingen-sur-Moder, France, was transformed by CEO Silvio Denz into an ultra-sophisticated 5-star hotel and 2-Michelin-starred gourmet restaurant that opened in 2015.  The mansion underwent a multimillion-dollar, five-year restoration that focused on preserving its historic architecture while integrating Lalique’s artistic vision. Key features, such as grand fireplaces, have been preserved and enhanced with contemporary glass sculptures.

Just a few minutes drive away is the Lalique museum opened in 2011 close to the site of Lalique’s workshop in Wingen-sur-Moder. Lalique has been owned by Lalique Group SA (formerly known as Art & Fragrance SA), a Swiss luxury goods company, since 2008.

Following the 1925 Paris Exposition Internationale des Arts Décoratifs, major Canadian department stores—most notably the T. Eaton Company—began directly importing and heavily marketing Lalique’s molded Art Deco glass in their catalog sales and model rooms.

Because Lalique’s luxury items became popular accent pieces among wealthy 20th-century Canadian families, many private collectors over the decades eventually bequeathed their holdings and personal estates to the museum.

The ROM intentionally expanded this area of their European Decorative Arts collection to document how French Modernist designs transitioned from luxury creations into everyday Canadian consumer culture.

The ROM has showcased these pieces extensively in dedicated, major exhibitions over the years: “Déco Lalique: Creator to Consumer” (2006): A landmark featured exhibition and published catalog by curator Carolyn Hatch that highlighted the history of Lalique glass in Canada. These glass mascots—featuring famous Lalique designs like sweeping female profiles (Victoire or Spirit of the Wind), roosters, and stylized animal figures—were prominently highlighted in the ROM’s landmark Déco Lalique: Creator to Consumer exhibition. “The Art of Collecting” (2011):  Featured a curated selection of Lalique glass alongside landmark European modernists like Peter Behrens, Carlo Scarpa, and Dale Chihuly.

The ROM does not release public market appraisals for its specific permanent collection items for insurance and security reasons. However, given that the ROM holds dozens of individual pieces—ranging from perfume bottles to large demi-crystal chandeliers—the institutional value of the collection as a whole is easily in the hundreds of thousands to low millions of dollars, with immense added historical and cultural value.

The collection is not on full permanent display. Like most major museums, the ROM rotates its vast decorative arts inventory, keeping the majority of its Lalique holdings protected in deep storage archives. At any given time, only a few select pieces (often iconic demi-crystal chandeliers or molded glass vases) are out on display in the Level 3 European Decorative Arts galleries or temporary design showcases.

Erté: A Journey Through Art and Elegance

Romain de Tirtoff was born on  November 23, 1892 in Saint Petersburg, Russia to an aristocratic family. He was a pioneering Russian-born French artist and designer known as the “Father of Art Deco”. His designs included dresses and accessories for women; costumes and opulent sets for opera, ballet, and dramatic productions; and posters and prints. Moved to Paris, France, in 1912 against his family’s wishes to pursue art. Adopted the pseudonym Erté, which is the French pronunciation of his initials R.T. (Romain de Tirtoff).

He wrote his autobiography, Things I Remember in 1975. Erté’s legacy serves as a reminder of the intersection between art and society, illustrating how a singular artistic voice can resonate across generations and shape cultural narratives. The name remains a symbol of elegance and aesthetic excellence, firmly rooted in the annals of art history.

The Hoover Dam: Engineering Marvel of the Great Depression

Imagine we are stepping into the dirty 1930s—a time when the American nation was brought to its knees by the Great Depression, yet somehow we reached for the sky to accomplish the impossible.  Imagine standing at the edge of the Black Canyon in 1931 which straddles the borders of Nevada and Arizona. Below you, the wild Colorado River rages—an untamed beast fed by the distant, melting snows of the Rocky Mountains. For decades, it had been a force of devastation, unleashing relentless floods that swallowed nearby farms, wiped out settlements, and threatened the fragile dream of expanding the American West.

Over five grueling years, thousands of men descended upon the desert heat to carve through solid rock, plunging more than 500 feet into the canyon walls. They carved out miles of subterranean tunnels and laid massive 30-foot-wide steel pipes known as penstocks. Together, they poured a mind-boggling 3.125 million cubic yards of concrete—creating a monolithic arch-gravity wall that weighs more than 6.6 million tons and rises to an astonishing 726.4 feet.

Not an AI generated photo but an actual aerial view of Hoover Dam

Initially called the Boulder Dam before being renamed the “Hoover Dam”, this structure didn’t just tame the river—it redefined the Southwest. It birthed Lake Mead, the largest man-made reservoir in the United States, plunging to depths of 532 feet at full capacity and holding enough water to submerge the entire state of Pennsylvania a foot deep. It provided life-giving irrigation to arid desert fields, provided steady jobs when the country needed them most, and fired up massive hydroelectric generators that sent clean, roaring electricity straight to the burgeoning neon lights of Las Vegas and the sprawling neighborhoods of Los Angeles. It was, quite rightfully, crowned by the American Society of Civil Engineers as one of America’s Seven Modern Civil Engineering Wonders.

While the concrete titan itself may stand virtually forever, its functional heart is racing against time. Lake Mead is shrinking. When regional leaders signed the 1922 Colorado River Compact, they made a critical error: they promised more water to surrounding states than the river actually possessed. Today, that mathematical miscalculation has caught up with us. Driven by long-term drought, hotter temperatures evaporating the reservoir’s surface, dwindling snowpack in the Rockies, and the relentless demand of millions of people and farms, more water is being pulled out than the river can replenish.

Iconic Hood Ornaments: Styles from the 1930s-1950s

Winged Goddesses & Flowing Figures

Human figures—particularly wind-swept, winged women—were widely popular to symbolize elegance, freedom, and speed.

Packard “Goddess of Speed” (1930s):   Features a graceful woman leaning into the wind while holding a rubber automobile tire out in front of her.

Cadillac “Flying Goddess” (1930s–1940s): Introduced in the early 1930s, this sleek figure evolved throughout the decade, becoming progressively more streamlined to complement Cadillac’s V-8, V-12, and V-16 flagship models.

Rolls-Royce “Spirit of Ecstasy”: Though originally designed in 1911, it became lower and more swept back during the 1930s and 1940s to match lower hood profiles, including a kneeling variation introduced in 1934.

Animals in Motion

Speed and grace were frequently represented using athletic animals captured mid-leap or mid-flight.

Lincoln Greyhound (1930s): A sleek, elongated chrome greyhound leaping forward, chosen by Edsel Ford to represent speed, stamina, and elegance.

Packard Pelican / Cormorant (1930s–1940s): Used alongside the Goddess of Speed on senior models, this stylized bird with outstretched wings was based on the Packard family crest.

Dodge Leaping Ram (1930s–1940s): Designed by sculptor Avard Fairbanks in 1931, the muscular ram standing on its hind legs became an iconic symbol for Dodge’s ruggedness.

Ford Model A “Flying Quail” (1930–1931): Featured a quail with its wings spread, symbolizing quick acceleration (“quick as a quail”).

SS Jaguar / Jaguar Leaper (Late 1930s–1940s):  The classic leaping jaguar mascot made its debut on the 1936 SS Jaguar 2½ Litre sports saloon.

Cultural, Mythological & Heraldic Figures

Automakers often drew from history, mythology, or folklore to imbue their vehicles with strong brand identities.

Pontiac Chief / Indian Head (1930s–1940s):  Designed in honor of Chief Pontiac, these ornaments ranged from full-bodied statues in the early 1930s to amber-tinted lucite heads in the late 1940s that glowed when the headlights were turned on.

Plymouth “Mayflower” (1930s):  Detailed representations of the historic Mayflower ship, blending maritime heritage with 1930s styling.

Duesenberg Pegasus (1930s):  The rare and massive Duesenberg Model J cars featured a striking Art Deco winged horse taking flight.

Jet Age, Aviation & Streamline Motifs

As the 1930s drew to a close and manufacturing resumed after World War II, hood ornament design shifted toward locomotives, fighter planes, rockets, and torpedoes.

Buick “Bomb” / Torpedo (1940s): Sleek, bullet-shaped, chrome projectiles with rear fins that heralded post-war design trends.

Chevrolet “Locomotive” / “Jet” (1940s):   Post-WWII Chevrolet models featured chrome hood ornaments that mirrored streamlined locomotive fronts and emerging jet aircraft designs.

Oldsmobile “World & Wing” / Futuristic Bombers (Late 1940s): Evolving into rocket-like silhouettes as Oldsmobile introduced its famous “Rocket V8” engine at the end of the decade.

The decline and eventual disappearance of hood ornaments was driven by a combination of lost practical function, safety regulations, aerodynamic demands, and cost/security concerns, Some makes like the Jaguar, Bentley and Rolls Royce still retain these fabulous works of art. Modern Rolls-Royce vehicles feature motorized mechanisms that automatically retract their famous hood ornament, the Spirit of Ecstasy into the bodywork upon impact or when the car is locked specifically to prevent theft and comply with safety regulations.

LOW RIDER

The song “Low Rider” from the 1975 album “Why Can’t we be Friends” by War is often thought of as a drug song due to the take a little trip chorus and the line that says the low rider is a little higher but that was not the intention according to the members of the band.

A low rider is a car, and also a culture. “Low Riders” are modified with hydraulic lifts that allow the driver to lower each wheel and make the car bounce. They are often customized with outrageous paint jobs, tiny steering wheels and swivel seats. The culture formed around these cars is big in the Southwestern US, and popular in Latino culture. Most of the band grew up in Southern California and were immersed in low rider culture.

As for War’s history, they are a multi-ethnic musical group formed in 1969 in Long Beach, California. They are known for their blend of jazz, rock, funk, and R&B and their politically charged lyrics. They have released several critically acclaimed albums and are considered one of the pioneers of the funk rock genre.

“Calling ourselves War was a positive thing: we were waging war against war and the conflicts going on in our back yard. Our weapons were our instruments, which fired rhythms, melodies and most of all harmony. We were a multi-ethnic band and we used our songs to bring peace and love.”

  The iconic lead vocals of “Low Rider” were performed by War’s saxophonist, Charles Miller.

“Marilyn Monroe Buildings”

Monroe buildings

If you’ve ever driven through Mississauga and thought, “Wait, are those skyscrapers dancing?”—you’re not entirely wrong! Officially named Absolute World, these two jaw-dropping residential condos are fondly known to locals and architecture nerds worldwide as the “Marilyn Monroe Towers.”

Back in 2006, the project developers decided they were tired of the usual, boring “box-shaped” suburban high-rises. They launched an international design competition to find something truly unique for the intersection of Hurontario and Burnhamthorpe in Mississauga, Ontario.

A young, up-and-coming Beijing-based firm called MAD Architects (led by founder Yansong Ma) swooped in with a daring, fluid design and took home first prize. It was actually the first time a Chinese architectural firm won an international competition for a major North American skyscraper!

The nickname caught on almost instantly. The taller tower (standing at a proud 56 storeys) features a stunning, hourglass silhouette that twists from its base all the way to the top. Locals instantly likened the building’s voluptuous, dramatic curves to Hollywood icon Marilyn Monroe.

The design was such a massive hit that the apartments sold out in mere days. The hype was so real that the developers quickly decided to add a second, 50-storey sister tower next door to keep her company (affectionately making them the “Condo Couple”).

Besides looking incredible on the skyline, the wavy design serves some pretty neat functions:

  • 360-Degree Views: Because each floor plate rotates every single condo unit gets its own unique angle and a continuous, wraparound balcony with breathtaking panoramic views.
  • Working with Nature: The continuous, deep balconies naturally shade the apartments from intense summer sun while letting in plenty of daylight.
  • Award Winners: In 2012, the Council on Tall Buildings and Urban Habitat officially crowned them the Best Tall Buildings in the Americas.

On a Carousel trying to catch up with you

I am an avid fan of the merry-go-round or carousel if you prefer. Riding a carousel is something almost everyone can do. But it’s more than just going around in circles.

The joy of the carousel is the simple pleasure of being free to go somewhere but nowhere at all. Merry-go-rounds are the luxury of time. For those few minutes, nothing is asked of us but to enjoy the ride.

I appreciate the painstaking effort of the carvers who made such exquisite pieces of art for the wonderment of children and adults a like. Though most carousels I remember had horses and chariots, organ music and lights there have been many made with circus animals, aquatic creatures, and bugs.

Bryant Park carousel

New York City is home to 14 carousels, each with its own distinct personality and history. Le Carrousel is an adorable 14-horse carousel in Bryant Park at 40th Street between 5th and 6th Ave. It has a French style that goes with the rest of Bryant Park.

Le Carrousel is open daily from 11am – 7pm almost all year round. It costs $3.00 per ride. This is the only one I had the opportunity to photograph during the time we were visiting.

Closer to home and an upcoming trip, I hope to get some good photos of the Lakeside Park Carousel in Port Dalhousie, Ontario which is about an hour and a half from our home in Kitchener, Ontario. Built in the early 20th century, it is one of the few remaining wood hand-carved carousels in Canada still operating at its original location, celebrated for its craftsmanship and nostalgic charm. It features 68 hand-carved wooden animals and four chariots and costs 5 cents a ride. Can you believe that?

Situated within Lakeside Park, a scenic area popular for picnics and beaches, the carousel evokes early 20th-century leisure culture. It is also referenced in the song “Lakeside Park” by the Canadian rock band Rush, which memorializes summertime memories at the site—further cementing its place in Canadian popular culture.

I am eagerly awaiting the day we go and will post photos when it happens. In the meantime, what kind of outings do you enjoy?

How do you tell nowadays, anyways!

how about we handle the truth

It’s a wild world out there, and frankly, the “bullshit meter” has to work harder than ever.

Bullshit often relies on outrage or extreme validation. If an article makes you feel immediately furious or smugly “right,” it’s likely designed to bypass your logic.
The Test: Ask, “Is this trying to inform me, or is it trying to make me feel something?”

Don’t just look at the website name—look at the URL and the “About Us” section. URLs that mimic real news sites (e.g., .co instead of .com) or sites that lack a clear masthead or editorial policy are a red flag. Don’t just read the site itself. Open a new tab and search for the site’s name. What do other reputable sources say about their credibility?

Quality writing links to primary sources (original studies, official transcripts, or direct data). A post that says “Scientists say…” without naming the scientists or linking to the actual study is likely bullshit. Click the links. Sometimes, a “source” is just another blog post from the same author, creating a circular loop of nothingness.

Search for the topic on a site known to have the opposite bias of what you’re currently reading. If the “facts” differ wildly, the truth is usually buried somewhere in the middle.

If you see a “breaking news” photo that looks too perfect, right-click and “Search Image with Google.” You might find that the “current” photo is actually from a protest in 2014 or a movie set.

A liar knows the truth and tries to hide it; a bullshitter doesn’t care what the truth is—they just want to get a reaction.

Kitchener’s Art Deco Nereids: A Sparkling Tale

Gather ’round, everyone! Lean in, because I’ve got a tale for you about two of Kitchener’s most famous “ladies” who spent decades looking for a permanent home.

Imagine it’s 1940. A local artist named Helen Waimel Robertson—who was a total rock star in the sculpture world—decides to create something a bit “extra” for the era. She crafts these two stunning Art Deco statues. They aren’t just any statues, though; they’re sea goddesses, or Nereids*, elegantly hitching a ride on the backs of dolphins. *They represent the beauty and goodness of the sea.

Now, here’s the cool part: Helen didn’t just use plain old cement. She mixed in quartz aggregate. So, when the sun hits them just right, they don’t just sit there—they sparkle.

But back in the 1940s, Kitchener was a pretty quiet, conservative place. When a local businessman named Roy Bullas put these “nude” sea nymphs in a fountain outside his furniture store on Charles Street, it caused quite the stir! People weren’t exactly used to seeing mythical goddesses hanging out by the sidewalk. They became a local landmark, but they definitely raised a few eyebrows.

Fast forward about forty years. The wrecking ball arrives! The Bullas store is being torn down to build the downtown bus terminal. For a minute there, it looked like our sparkling goddesses might end up in a scrap heap. Luckily, a local couple, the Kachiks, stepped in like art-world superheroes and saved them from the rubble.

After that, the statues spent a long time hiding away in city storage—basically a dark, dusty basement. It wasn’t until 1998 that they finally got their “happily ever after.” Thanks to some serious persistence from the artist’s sister, the city brought them out of retirement.

Because they’re made of that special sparkling concrete, they couldn’t stay outside forever—the Ontario winters are a bit much for even a sea goddess! So, they were moved into the “refreshment” lobby of the Centre In The Square. Today, they stand there finally dry, warm, and ready to greet everyone coming to see a show.

So, next time you’re in the theatre for a performance, look for the ladies on the dolphins. They’ve survived the 1940s critics, a demolition crew, and years in a storage locker just to sparkle for you!

Note: A sculpture is a three-dimensional work of art. It can be made of stone, metal, clay, or other materials. A statue is an artwork that depicts a person or an animal or part of a person or animal. The terms sculpture and statue are often used interchangeably.