Decorative model Elephants stand in Trafalgar Square on May 4, 2010 in London, England. 260 of the decorative life size baby Elephants have been designed by established and emerging artists including Paul Smith, Marc Quinn and Julien Macdonald and have been placed across the capital in prominent places such as Buckingham Palace, Parliament Square and Trafalgar Square. (Photo by Dan Kitwood/Getty Images)

Students take part in a fashion and design entrance examination at Hubei Institute of fine Arts on February 28, 2011 in Wuhan, Hubei Province of China. 202 students took part in the exam and only 24, (10 percent) of them will be enrolled in Hubei Institute of fine Arts. (Photo by ChinaFotoPress/Getty Images). WUHAN, CHINA – FEBRUARY 28

The Dubai Miracle Garden is unique in that it was essentially built on a desert. Head landscaper Akar says that the grounds are a great example of how it is possible to “green the desert” by reusing waste water. Designers took additional precautions to protect the beautiful garden arrangements from the environment. For instance, the garden’s perimeter is lined with trees that are used as windbreakers. Unlike most of the gardens around the world, the Dubai Miracle Garden closes during the summer due to severe weather conditions.

There are not many sculptures in the world that were purposely made to be grotesque, especially on such a large scale. Thus, a Hungarian artist Ervin Loránth Hervé has apparently decided that there isn’t enough horror in this world and created the Feltépve – a sculpture of a stone giant ripping apart the earth in order to break free. However, when we look from another perspective this sculpture might depict a grouchy giant trying to cover himself with a blanket of earth so that everyone would leave him alone. The latter interpretation of this sculpture was probably not intended by the sculptor; however, the way the arms of the giant are positioned makes it look as if it was truly the case.

Family and friends sit in a vehicle trailer, where they will spend the night, near the enclosure for buffalos awaiting sacrifice on the eve of the sacrificial ceremony for the “Gadhimai Mela” festival in Bariyapur November 27, 2014. The festival renowned for its large number of animal sacrifices, is held every five years at the Gadhimai Temple where devotees from Nepal and bordering India will sacrifice buffaloes, goats and birds while offering prayers to Gadhimai, the goddess of power. (Photo by Navesh Chitrakar/Reuters)

As these Cafe Taina Coffee ads explicitly assert, there are "times when sleeping is not an option."
Executed by Giovanni + Draft FCB, this animated advertising campaign captures two situations in which awareness is of necessity: when you're trapped in a jail cell with a large creepy inmate, and when a fellow castaway is equally prepared to resort to cannibalism as you are. It's very lucky that the cartoon characters in the Cafe Taina Coffee ads had a bag of the grind handy, or one tired blink may have been their last.

Son doong cave is a cave in Phong Nha-Kẻ Bàng National Park, Bố Trạch district, Quảng Bình Province, Vietnam. Currently the biggest known cave in the world, the cave is located near the Laos-Vietnam border. Inside is a large, fast-flowing underground river.
In early August 2013, the first tourist group explored the cave on a guided tour at a cost of US$3,000 each. The group had six members from Australia, Norway, Russia and USA and spent 7 days and 6 nights for the tour. Next exploration trips will be arranged.

The Mano de Desierto is a large-scale sculpture of a hand located in the Atacama Desert in Chile, 75 km to the south of the city of Antofagasta, on the Panamerican Highway. The nearest point of reference is the “Ciudad Empresarial La Negra” (La Negra Business City). The sculpture was constructed by the Chilean sculptor Mario Irarrázabal at an altitude of 1,100 meters above sea level. Irarrázabal used the human figure to express emotions like injustice, loneliness, sorrow and torture. Its exaggerated size is said to emphasize human vulnerability and helplessness. The work has a base of iron and cement, and stands 11 metres (36 ft) tall. Funded by Corporación Pro Antofagasta, a local booster organization, the sculpture was inaugurated on March 28, 1992.