The following photographs helps us to have a glimpse of how wonderful this places is, however it will never replace the impact that represents when visited personally.  

"The landscaping initiated at the inception of the Holy Year of thirteen thousand square meter area immediately surrounding the Qiblih of the Bahá'í world, involving extension of its outer sanctuary, to be designated henceforth as the Haram-i-Aqdas, is virtually concluded, paving the way, successively, for the embellishment and extensive illumination of the entire area and erection of stately portals, presaging the rearing at a future date of a magnificent mausoleum in its heart. The striking enhancement of the beauty and stateliness of the most holy spot in the Bahá'í world constitutes a befitting tribute to the memory of the Founder of the Faith, within the hallowed area adjacent to His resting place, on the occasion of the centenary celebrations of the birth of His glorious Mission." - Shoghi Effendi

Abdu'l-Bahá describes that Spot as the "Luminous Shrine", "the place around which circumambulate the Concourse on High". In a letter written on his behalf, Shoghi Effendi uses the analogy of the plant turning in the direction of the sun to explain the spiritual significance of turning towards the Qiblih:

“...just as the plant stretches out to the sunlight--from which it receives life and growth--so we turn our hearts to the Manifestation of God, Bahá'u'lláh, when we pray; ...

we turn our faces ...

to where His dust lies on this earth as a symbol of the inner act.”

Processed with VSCO with c1 preset Processed with VSCO with c1 preset

"The word magic cannot well define what was taking place at every moment. It was like a powerful and ever-present force of enchantment creating beauty in a hundred places at the same time. Shoghi Effendi was moving about directing, counselling, cautioning, encouraging, explaining, demonstrating how to do apparently impossible things, and rejoicing in the transformation of the land under our very eyes. In the afternoon a drizzle came down but he would not leave the grounds, determined to accomplish as much as was possible before sunset. Markers and trees placed by the previous owners, who had never permitted either the purchase of the land or extension of the gardens around the Shrine, were removed. Young trees were brought in and planted along the paths; the outer semicircular line was doubled to make a wide tree-bordered avenue. Iron gates, steps, stone decorations, flowering plants, top soil and grass seeds were brought from Haifa, from Mt. Carmel, the Ridvan Garden, and the Master's House to give consistency to the superb embellishment plan."
 

Processed with VSCO with g3 preset

Processed with VSCO with c1 preset

Processed with VSCO with c1 preset

Processed with VSCO with c1 preset

Processed with VSCO with g3 preset
Processed with VSCO with g3 preset

Processed with VSCO with g3 preset

“The ‘inner sanctuary’ is the roofed area consisting of a beautiful central garden, the surrounding paths of which are covered with rugs, and where the privileged pilgrims and visitors stand in prayer and view the ‘Blessed Threshold’ and ‘the Holy of Holies,’ where lies interred, in the words of the Guardian, ‘the holiest dust the earth ever received into its bosom.'"

Processed with VSCO with f2 preset

"Many years later we were to go there together, and I was shown the famous Bábbacombe downs by the Guardian and we walked in the park he had visited so long before - a park with deep red-coloured paths which I believe were the very ones that impressed upon his mind the beauty of red paths and green lawns and ornamental vases in conjunction and inspired him years later to duplicate them in his own beautiful gardens at Bahji and on Mt Carmel."  - Ruhiyyih Rabbani
 

Processed with VSCO with c1 preset

Processed with VSCO with c1 preset

Processed with VSCO with m5 preset

"After his (Shoghi Effendi) passing, in fulfilment of his own expressed intention, a third terrace was raised on the other two, placing the final touch on his magnificent arrangement of the Shrine gardens. This new concept meant that his original cart-wheel design of gardens was entirely abandoned, for the system of converging paths on a common centre was no longer feasible. Many times Shoghi Effendi would alter his plan because his eye, on the spot, revealed to him something he felt was more beautiful and worthy." - Ruhiyyih Rabbani

Processed with VSCO with c1 preset

"On the west side, and at the rear of the Shrine, there were some olive trees, a few eucalyptus trees, and some ancient pines, which at the time of Bahá'u'lláh's residence in the Mansion were the only source of shade and coolness, during the torrid heat of the long Palestinian summers. This was the condition of the grounds around that Blessed Spot when I first saw it." - Ugo Giachery

Processed with VSCO with m3 preset

Processed with VSCO with f2 preset

Processed with VSCO with c1 preset

"Gradually the gardens in both Haifa and Bahji were all illumined with beautiful four-branched wrought-iron lamp posts, ninety-nine of them being erected in Bahji alone. When the night came that these were lighted for the first time, on the occasion of the Ridvan Feast in 1953, and we approached Bahji by car the sky glowed as if we were approaching a small city! The Guardian told the Persian pilgrims that it had always been light, but now it was "light upon light". (In the original there is a beautiful play upon words alluding to Bahá'u'lláh as light.)" - Ruhiyyih Rabbani