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With its rhythmic vertical lines, scalloped roofline, and pale façade glowing against the sky, the apartment building at 851 Eddy Street in San Francisco’s Tenderloin/Van Ness corridor is a pristine example of Art Deco residential design. Located near the intersection of Eddy and Van Ness Avenue, this mid-rise gem is often overlooked—but for fans of historical architecture and streamlined design, it offers an elegant slice of 1930s modernity tucked into a busy urban block.
The building’s architectural details are classic Art Deco: fluted pilasters rise between the windows, giving the structure a sense of vertical lift and movement. Each parapet bay is topped with a sculptural, crown-like detail that mimics the appearance of cut stone or pressed concrete. The building's restrained palette—primarily white with subtle shadows cast by structural relief—lets the geometry speak for itself. Tall, evenly spaced windows allow ample natural light into the apartments and reinforce the emphasis on balance and proportion that defines the Deco style.
Constructed during the early-to-mid 20th century, this building likely emerged during San Francisco’s pre-war housing boom, when Art Deco was the architectural language of choice for hotels, cinemas, and residential towers alike. It joins a small but beloved group of Deco structures that dot the Tenderloin, Civic Center, and Nob Hill—adding vertical punctuation to otherwise flat, gridded streetscapes.
In this photograph, the building is captured from a low corner angle, emphasizing its towering symmetry and clean upward momentum. Trees soften the lower floors while deep blue skies and scattered clouds create a cinematic backdrop for the building’s whitewashed exterior. Neighboring Victorians and modern infill structures surround it, but the Deco building asserts its identity through confidence, not ostentation.
The fire escape, hugging the east elevation, adds texture without disrupting the vertical rhythm. And the subtle aging of the paint and plaster shows this building isn’t frozen in time—it’s a working piece of San Francisco’s living architectural history.
Whether you’re an Art Deco enthusiast, a cityscape photographer, or simply someone attuned to the small visual triumphs that make San Francisco so rich, 851 Eddy is worth noticing. It speaks to a moment in the city’s evolution when forward-looking design met practical urban housing—and the results remain quietly beautiful to this day.
This is a single Magic-Cube consits of 12 individual Pyramids. Each one connected on two sides and carrying rare-earth magnets to help stabilize the major structures. A single Cube has 36 magnets. There are 5 major shapes that will „fall into place“, meaning the magnets will pull it together and no hinge is left flexible. As a toy the Cube posesses the challenge of a Riddle to unlock the different Shapes or to find the paths of shortest movement between them. As Art it can be left Standing, or with the supplied Wallmount, be displayed as a hanging Object. The beauty of this dissection, displayed in Numbers, are the different sidelengths of a Single Pyramid. Namely: One, Sqareroot of Two and Half Squareroot of Three.
Want to see the transformation of a single Magic "Planet" Geocube? Go to vimeo.com/user23706515/geobender/geocubes/planet_single
Would you like to see more Magic Geocubes? You want to buy one or more? Go to www.GeoBender.com
This two-frame panorama view looks across of part of the foyer at the South Entrance to the museum, facing Cromwell Road, which is off to the left of shot.
In 1864 Francis Fowke, the architect who designed the Royal Albert Hall and parts of the Victoria and Albert Museum, won a competition to design the Natural History Museum.
When he unexpectedly died a year later, the relatively unknown Alfred Waterhouse took over and came up with a new plan for the South Kensington site.
Waterhouse used terracotta for the entire building as this material was more resistant to Victorian London's harsh climate.
The result is one of Britain’s most striking examples of Romanesque architecture, which is considered a work of art in its own right and has become one of London's most iconic landmarks.
The image above brings out a lot of the colour and the absolute profusion of ornate detail. I've always liked the small animal figures on the edges. Here there are a number of monkeys amidst the flowers and geometric forms.
Simple mask pattern design. Plenty of white space required as these are to be printed on medical grade masks. Not a fabric design.
At the corner of Market and Fremont Streets in San Francisco’s Financial District, this sharp-angled concrete and glass building stands out with its rhythmic grid of recessed windows and clean geometric lines. Once home to financial firms, it now hosts the fintech company Chime, signaling the district’s evolution from traditional banking to digital finance. The structure reflects late-20th-century corporate modernism, emphasizing efficiency and order through repetitive façade modules and a strong, fortress-like presence. Set against the backdrop of Postmodern neighbors like the reddish 101 California and mirrored high-rises, it illustrates the layering of eras that defines San Francisco’s dense urban core.
Attic black-figure imported deinos on stand. Early mythological scene of Bellerophon on Pegasus fighting the Chimera, with palmettes, rosettes, swastikas and other geometric designs. 7th Century BC. From a burial at Incoronata, Pisticci. Museo archeologico nazionale di Metaponto. Metaponto, Basilicata, Italy. Copyright 2016, James A. Glazier. Imitation of a bronze cauldron.
Nestled in the heart of San Francisco’s iconic waterfront district, the Hyatt Regency Embarcadero boasts one of the city’s most awe-inspiring architectural gems—the stunning 17-story atrium. Designed by renowned architect John Portman, this soaring interior was once the world’s largest hotel atrium when it opened in 1973, setting the stage for Portman’s revolutionary concept of communal hotel spaces. The vast, light-filled atrium welcomes guests with its open design, featuring exposed glass elevators, futuristic lighting, and sweeping walkways that guide your eyes upward to the dramatic skylights. The atrium’s symmetrical lines and angular design create an almost sci-fi ambiance, perfect for fans of modern architecture. This cutting-edge design has also made the Hyatt Regency a favorite filming location, most notably featured in the 1977 thriller High Anxiety by Mel Brooks.
The atrium seamlessly blends with the waterfront energy outside, just steps from the Ferry Building, offering unbeatable views of the San Francisco Bay and the Bay Bridge. Its proximity to the Embarcadero makes it ideal for both business and leisure travelers seeking luxury with a touch of history. In addition to its architectural flair, the hotel offers high-end amenities like a 24-hour fitness center, fine dining, and spacious, modern rooms with floor-to-ceiling windows, all encapsulating the spirit of San Francisco’s vibrant waterfront district.
Geometric Shaved Design with a Top Knot : did this fun 0 to #2 fade with geometric lines on Carly’s hair. I also gave her a nice trim and styled a top knot.
sarasotabradentonhairsalon.com/geometric-shaved-design-wi...
I had to shoot a B/W abstract view of the Eiffel Tower from underneath while I was in Paris. The detail in the 1887 iron works is so fascinating. Check out the blow-up (from the middle arch) by using the right arrow button >
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Autumn in Melbourne is always beautiful, with many wonderful deciduous trees full of colour like these Japanese maples outside the "Kia-Ora" apartment complex on Melbourne's grand elm tree lined boulevard, St Kilda Road.
Melbourne had a very good start to summer with not too many burning hot days and lots of rain, which means that the autumn display of leaves at present are simply glorious.
The Streamline Moderne "Kia-Ora" apartment complex was built in 1936. Featuring a stained glass stairwell window executed in a geometric design, reeded half columns flanking the very stylised vestibule door and a small amount of geometric decoration along the roofline, "Kia-Ora" is everything chic and stylish about inner city apartment living as much today as it was when they were built. Framed by manicured gardens, the U-shaped low-rise apartments feature distinctive curved Streamline Moderne balconies too.
The "Kia-Ora" apartment complex was commissioned by the Dixon family, who owned the "Kia-Ora" cordial factory, and designed by architect Lewis Levy (1890-1970).
When first built, they boasted wall panel hydronic heating, walk-in closets and modern kitchens.
After the Great War (1914 - 1918), higher costs of living and the "servant problem" made living in the grand mansions and villas built in the Victorian and Edwardian eras a far less practical and attractive option for both those looking for new housing, and those who lived in big houses. It was around this time, in answer to these problems, that flats and apartments began to replace some larger houses, including those that had formerly lined Melbourne's grand boulevard of St Kilda Road, and became fashionable to live in.
Flats like these would have suited those of comfortable means who could afford to live in such a prestigious and fashionable area, and dispense with the difficulties of keeping a large retinue of staff. With clean lines and large windows, it mirrored the prevailing uncluttered lines of architecture that came out of England after the war.
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Francisco Aragão © 2015. All Rights Reserved.
Use without permission is illegal.
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Portuguese
A BasĂlica de SĂŁo Pedro (em latim Basilica Sancti Petri, em italiano Basilica di San Pietro) Ă© uma basĂlica no Estado do Vaticano, tratando-se da maior das igrejas do cristianismo e um dos locais cristĂŁos mais visitados. Cobre um área de 23000 m² ou 2,3 hectares (5.7 acres) e pode albergar mais de 60 mil devotos (mais de cem vezes a população do Vaticano). É o edifĂcio com o interior mais proeminente do Vaticano, sendo sua cĂşpula uma caracterĂstica dominante do horizonte de Roma, sendo adornada com 340 estátuas de santos, mártires e anjos. Situada na Praça de SĂŁo Pedro, sua construção recebeu contribuições de alguns dos maiores artistas da histĂłria da humanidade, tais como Bramante, Michelangelo, Rafael e Bernini.
Foi provado que sob o altar da basĂlica está enterrado SĂŁo Pedro (de onde provĂ©m o nome da basĂlica) um dos doze apĂłstolos de Jesus e o primeiro Papa e, portanto, o primeiro na linha da sucessĂŁo papal. Por esta razĂŁo, muitos Papas, começando com os primeiros, tĂŞm sido enterrados neste local. Sempre existiu um templo dedicado a SĂŁo Pedro em seu tĂşmulo, inicialmente extremamente simples, com o passar do tempo, os devotos foram aumentando o santuário, culminando na atual basĂlica. A construção do atual edĂficio sobre o antigo começou em 18 de abril de 1506 e foi concluĂdo em 18 de novembro de 1626, sendo consagrada imediatamente pelo Papa Urbano VIII. A basĂlica Ă© um famoso local de peregrinação, por suas funções litĂşrgicas e associações histĂłricas. Como trabalho de arquitetura, Ă© considerado o maior edifĂcio de seu perĂodo artĂstico.
A BasĂlica de SĂŁo Pedro Ă© uma das quatro basĂlicas patriarcais de Roma, sendo as outras a BasĂlica de SĂŁo JoĂŁo de LatrĂŁo, Santa Maria Maior e SĂŁo Paulo Extramuros. Contrariamente Ă crença popular, SĂŁo Pedro nĂŁo Ă© uma catedral, uma vez que nĂŁo Ă© a sede de um bispo. Embora a BasĂlica de SĂŁo Pedro nĂŁo seja a sede oficial do Papado (que fica na BasĂlica de SĂŁo JoĂŁo de LatrĂŁo), certamente Ă© a principal igreja que conta com a participação do Papa, pois a maioria das cerimĂ´nias papais sĂŁo realizadas na BasĂlica de SĂŁo Pedro devido Ă€ sua dimensĂŁo, Ă proximidade com a residĂŞncia do Papa, e Ă localização privilegiada no Vaticano.
English
The Papal Basilica of Saint Peter (Latin: Basilica Sancti Petri), officially known in Italian as the Basilica Papale di San Pietro in Vaticano and commonly known as St. Peter's Basilica, is a Late Renaissance church located within the Vatican City. St. Peter's Basilica has the largest interior of any Christian church in the world, holding 60,000 people. It is regarded as one of the holiest Catholic sites. It has been described as "holding a unique position in the Christian world" and as "the greatest of all churches of Christendom".
In Catholic tradition, the basilica is the burial site of its namesake Saint Peter, who was one of the twelve apostles of Jesus and, according to tradition, first Bishop of Rome and therefore first in the line of the papal succession. Tradition and some historical evidence hold that Saint Peter's tomb is directly below the altar of the basilica. For this reason, many Popes have been interred at St Peter's since the Early Christian period. There has been a church on this site since the 4th century. Construction of the present basilica, over the old Constantinian basilica, began on April 18, 1506 and was completed on November 18, 1626.
St. Peter's is famous as a place of pilgrimage, for its liturgical functions and for its historical associations. It is associated with the papacy, with the Counter-reformation and with numerous artists, most significantly Michelangelo. As a work of architecture, it is regarded as the greatest building of its age. Contrary to popular misconception, Saint Peter's is not a cathedral, as it is not the seat of a bishop. It is properly termed a papal basilica. The Basilica of St. John Lateran is the cathedral church of Rome.
Wikipedia
Colored with fine-line pens. Drawing from a book named "Stress Less Coloring: Mosaic Patterns."
Thanks for viewing. Your comments appreciated.
Nestled in the heart of San Francisco, the Fisher Atrium is a stunning example of contemporary architecture that seamlessly blends historical charm with modern design. As you step inside, you’re greeted by soaring ceilings painted in a serene sky blue, creating an airy and open atmosphere. The walls, adorned in warm peach and terracotta tones, add a touch of earthiness that grounds the space.
The atrium’s design is a masterclass in the use of natural light. Sunlight pours in from above, illuminating the space and casting dynamic shadows that shift throughout the day. This interplay of light and shadow creates a living, breathing environment that feels both timeless and ever-changing.
Architecturally, the Fisher Atrium is a nod to San Francisco’s rich history and innovative spirit. The geometric wall accents and rectangular columns echo the city’s iconic urban grid, while the balcony with its elegant railing offers a vantage point to appreciate the atrium’s grandeur. The patterned floor below adds a layer of sophistication, reminiscent of the intricate designs found in historic buildings throughout the city.
Historically, the Fisher Atrium stands as a testament to San Francisco’s evolution. It captures the essence of a city that is constantly reinventing itself, yet remains deeply rooted in its past. This space is not just a functional area but a landmark that tells the story of San Francisco’s architectural journey.
Whether you’re an architecture enthusiast or simply looking for a serene spot to reflect, the Fisher Atrium offers a unique glimpse into the soul of San Francisco. It’s a place where history and modernity coexist, creating a harmonious blend that is both inspiring and captivating.
Brass Box inlaid with silver and copper with combination lock by Muhammad bin Hamid al-Asturlabi al Isfahani. Isfahan, Iran (Persia). Dated 1201 AD. From the David Collection, Copenhagen. Special Exhibition: Court and Cosmos: The Great Age of the Seljucs. Metropolitan Museum. New York, New York, USA. Copyright 2016, James A. Glazier.
Attic black-figure imported deinos on stand. Early mythological scene of Bellerophon on Pegasus fighting the Chimera, with palmettes, rosettes, swastikas and other geometric designs. 7th Century BC. From a burial at Incoronata, Pisticci. Museo archeologico nazionale di Metaponto. Metaponto, Basilicata, Italy. Copyright 2016, James A. Glazier. Imitation of a bronze cauldron.
This is a single Magic-Cube consits of 12 individual Pyramids. Each one connected on two sides and carrying rare-earth magnets to help stabilize the major structures. A single Cube has 36 magnets. There are 5 major shapes that will „fall into place“, meaning the magnets will pull it together and no hinge is left flexible. As a toy the Cube posesses the challenge of a Riddle to unlock the different Shapes or to find the paths of shortest movement between them. As Art it can be left Standing, or with the supplied Wallmount, be displayed as a hanging Object. The beauty of this dissection, displayed in Numbers, are the different sidelengths of a Single Pyramid. Namely: One, Sqareroot of Two and Half Squareroot of Three.
Want to see the transformation of a single Magic "Black&White" Geocube? Go to vimeo.com/user23706515/geobender/geocubes/black-white_single
Would you like to see more Magic Geocubes? You want to buy one or more? Go to www.GeoBender.com
The iconic Hyatt Regency San Francisco at Embarcadero Center is renowned for its futuristic, towering atrium, designed by celebrated architect John Portman. Opened in 1973, the hotel revolutionized public spaces in hospitality with its 17-story atrium—once the largest in the world. This architectural masterpiece is a blend of concrete and glass, creating a vast vertical space that showcases the daring modernism of the 1970s.
The photo captures the breathtaking scale and geometric rhythm of the atrium’s upper levels, where rows of balconies create a striking visual pattern. These balconies form part of the hotel’s radial design, giving the space a sense of limitless expansion. The angular lines that seem to shoot upwards direct your gaze toward the ceiling, where natural light filters in through strategically placed skylights. The atrium not only serves as a functional part of the hotel but also acts as a work of art, enveloping visitors in an environment that feels both grand and intimate.
Portman’s design makes incredible use of perspective and light, with sunlight streaming through the upper skylights and casting intricate shadows across the expansive interior. The atrium’s verticality is further emphasized by the glass-enclosed elevator shafts, adding to the futuristic and almost spaceship-like atmosphere. This dynamic space remains a focal point of the Hyatt Regency, offering guests a sense of awe and tranquility in the heart of San Francisco’s bustling financial district.
Blue-green glass applique plaques from a woman's grave in Mycenae. c. 1500 BC. Mycenean. Special exhibit focusing on Roman glassmaking in Colonia (they exported glass all over the Roman empire). Roman-Germanic Museum (Römisch-Germanisches Museum), Köln, Germany. Copyright 2016, James A. Glazier.
Drawn with Micron.01 pen on 7" x 5" acid free 130 lb multi-media paper. Colored with Gel pens, Blick Artists’ Colored Pencils, and shaded with #2 pencils. Thanks for your fav’s and for viewing.
Mitla, Group of the Columns, Palace of Columns
Mitla is an important Zapotec culture archeological site and the second most important archeological site in the state of Oaxaca in Mexico. The site is located in the upper end of the Tlacolula Valley. While Monte Albán was most important as the political center, Mitla was the main religious center. Mitla is unique among Mesoamerican sites for its elaborate and intricate mosaic fretwork and geometric designs that cover tombs, panels, friezes and even entire walls. These mosaics are made with small, finely cut and polished stone pieces which have been fitted together without the use of mortar. No other site in Mexico has this.
The name Mitla is derived from the Nahuatl name Mictlán, which was the place of the dead or underworld. Its Zapotec name is Lyobaa, which means “place of rest.” The name Mictlán was Hispanicized to Mitla by the Spanish.
Mitla is one of many well-preserved archeological sites of the Oaxaca Valley, which was settled by the Zapotecs who over the centuries developed a hierarchical society governed by kings and nobles. While the valley was relatively isolated, the Zapotecs did have contacts with other Mesoamerican peoples. By the time the Spanish arrived, the Zapotec state had a population of over 500,000, sophisticated construction techniques, a writing system, two calendar systems and agriculture that included the growing of maize, beans, squash, and chili peppers, using irrigation and terraces in the mountains to grow food for a mostly urban population.
Mitla itself was inhabited at least since the Classic Period (100-650 CE) and perhaps from as early as 900 BCE. It began as a fortified village on the outer edge of the valley and later became the main religious center for the area. The Mixtecs took control of the area around 1000 CE, although the area remained populated by the Zapotec. The city reached its height and largest size between 750 and 1521, with both Zapotec and Mixtec influences in its architecture during that time. Mitla is one of the pre-Columbian sites that represent the Mesoamerican belief that death was the most consequential part of life after birth. It was built as a gateway between the world of the living and the world of the dead. The high priest, called the Uija-tà o, resided at Mitla. Nobles buried at Mitla were destined to become “cloud people” who would intercede on behalf of the population below.
Instead of being a group of pyramids on a hill, as at Monte Albán, Mitla is a group of constructions built on the valley floor, and it lacks the wide and far vistas of Monte Alban. The architecture is geared more for the comfort of the residents than for magnificence. The construction of Mitla as a ceremonial center began in 850, and the city was still being expanded when the Spaniards arrived and destroyed it. The oldest group of buildings has been dated to between 450 and 700 CE and shows architectural features similar to those found at the earlier Monte Alban. Mitla is one of the few sites that originated in the Classic period. The site represents the most developed architecture of the Zapotecs and is the product of the syncretism of Mixtec and Zapotec design features which reached its height in 1200.
Today the archeological site consists of five groups of buildings with a fence of cactus plants surrounding much of it. The five groups of constructions are called the South Group, the Adobe Group, the Arroyo Group, the Columns or Palace Group and the Church or North Group. All of the groups’ buildings are aligned with the cardinal directions. The South Group and the Adobe Group have been classified as ceremonial centers with central plazas surrounded by mound structures. The South, Columns and Church Groups have been classified as palaces with rooms surrounding square courtyards. The two best preserved groups are the Columns Group and the Church Group, both at the north end of the site, and both consist of rectangular courtyards surrounded by one story rectangular buildings with long narrow rooms.
The Columns Group has two entrances to the outside that face south. The entrance room contains immense columns which support the roof. The north wall has a small opening facing the patio, supposedly for crossing into the afterlife. The main building is called the Palace or the Grand Hall of Columns. It measures 36.6 by 6.4 m and has six columns of volcanic stone that once supported the roof. After passing through a small corridor, access is gained to the courtyard, which is intricately decorated in mosaic fretwork and geometric designs. The north and east buildings of the group have elaborate tombs where high priests and Zapotec rulers were buried. In front of the stairs of the north building is a cross-shaped tomb with an antechamber. The ceiling has large beams made of stone and the walls are decorated with tablets and stone fretwork. The east building is characterized by a monolithic stone column which supports the roof.
(source: en.wikipedia.org/wiki/Mitla)
Ink on paper drawing of Joseph Kabris (Jean-Baptiste Cabri, c. 1780 AD - c. 1821 AD), who received whole-body tattoos in the Marqesas Islands and then exhibited himself in Europe. 1817 AD. Special Exhibit: Tattoos: Ritual. Identity. Obsession. Art. From the Musée du quai Branly, Paris, France. Royal Ontario Museum, Toronto, Ontario, Canada. Copyright 2016, James A. Glazier I found the show disappointing, with insufficient coverage of native American tattooing traditions and a lack of thematic and historical scope. Saw a much better exhibit in Mexico in January at UNAM.