View allAll Photos Tagged SymmetricalDesign
two shadows drift into the blinding calm, swallowed by light, traced by concrete ribs that echo silence. the architecture breathes like a living cathedral—empty, precise, timeless.
two shadows drift into the blinding calm, swallowed by light, traced by concrete ribs that echo silence. the architecture breathes like a living cathedral—empty, precise, timeless.
This striking black-and-white photograph captures the solitary figure of a woman ascending a wide staircase in an urban environment. The strong contrast between light and shadow creates a dramatic play across the steps, emphasizing the geometric lines and modern architectural features. The minimalist composition and symmetrical design guide the viewer’s eye upward, symbolizing movement and solitude. The image evokes a sense of quiet contemplation, as the lone figure climbs toward the bright sky, framed by the surrounding walls.
One of a series of symmetrical designs. See the set here: www.flickr.com/photos/david_lewis_baker_arts/sets/7215762...
Strictly speaking, a true symmetry only exists in patterns which repeat exactly and continue indefinitely. But most of my symmetrical works only have reflections in horizontal and vertical directions, not across diagonal axes. If we flip across a diagonal line, we do not get the same pattern back; what we do get is the original pattern shifted across by a certain distance.
The relationship of symmetry to aesthetics is complex. Certain simple symmetries, and in particular bilateral symmetry, seem to be deeply ingrained in the inherent perception by humans of the likely health or fitness of other living creatures, as can be seen by the simple experiment of distorting one side of the image of an attractive face and asking viewers to rate the attractiveness of the resulting image. Consequently, such symmetries that mimic biology tend to have an innate appeal that in turn drives a powerful tendency to create artefacts with similar symmetry. One only needs to imagine the difficulty in trying to market a highly asymmetrical car or truck to general automotive buyers to understand the power of biologically inspired symmetries such as bilateral symmetry.
Yet another possibility is that when symmetries become too complex or too challenging, the human mind has a tendency to "tune them out" and perceive them in yet another fashion: as noise that conveys no useful information. Finally, perceptions and appreciation of symmetries are also dependent on cultural background. The far greater use of complex geometric symmetries in many Islamic cultures, for example, makes it more likely that people from such cultures will appreciate such art forms (or, conversely, to rebel against them).
As in many human endeavours, the result of the confluence of many such factors is that effective use of symmetry in art and architecture is complex, intuitive, and highly dependent on the skills of the individuals who must weave and combine such factors within their own creative work. Along with texture, colour, proportion, and other factors, symmetry is a powerful ingredient in any such synthesis; one only need to examine the Taj Mahal to powerful role that symmetry plays in determining the aesthetic appeal of an object.
Adapted from: en.wikipedia.org/wiki/Symmetry
This is an image of the erosion effects you find in karst limestone pavements, affectionately known as clints and grykes…
Or is it? Whenever I look at this image, it fools me into thinking that is what it is. But it’s Sliders Sunday so I need to be wary. And so, I suggest, do you. Would I ever mislead you? Never! … much.
This is, in fact, an intentional camera movement picture I took on Boxing Day last year. It’s the silhouette of a leafless tree taken on a walk in a country lane near where I live. I’ll post a link to the in-camera original in the first comment so you can see what I mean.
I duplicated the near-monochrome image, which already reminded me of cracks in a rock, flipped one of the copies and then blended them with Darken blend mode to preserve the silhouette. That gave it a pleasing symmetry which always appeals to me. The rest was just tweaking, with a Lighting filter layer to add texture (the spotlight is set in the upper right) and a light vignette.
Thanks for taking the time to look. I hope you enjoy the image. Happy Sliders Sunday :)
When I encountered this doorway, I was struck by its bold geometric simplicity and the strong interplay of colors. My goal was to capture the essence of modernist design principles through this seemingly simple entrance. I carefully composed the shot to emphasize the perfect symmetry of the white vertical bands against the green wall, while the rounded square frame creates a striking portal effect. I positioned myself to ensure the concrete steps at the bottom would ground the composition while maintaining the geometric harmony above. The soft, even lighting helped to preserve the subtle details and textures while maintaining the minimalist feel I was after. For me, this image represents the beautiful intersection of form and function in modern architecture, where even a simple doorway becomes a statement of design principles.
Bowood is a Grade I listed Georgian country house in Wiltshire, England, that has been owned for more than 250 years by the Fitzmaurice family. The house, with interiors by Robert Adam, stands in extensive grounds which include a garden designed by Lancelot "Capability" Brown.
Standing before the grand rotunda of San Francisco’s Palace of Fine Arts, it’s hard not to feel small—in the best possible way. The pink Corinthian columns rise proudly from the earth, mirrored in the still, green waters of the lagoon below. Ferns and flowering plants line the edge, softening the formality of the architecture with wild natural beauty. Even the air seems quieter here, the way it does in sacred places. As a Highly Sensitive Person, the harmony of shape, color, and reflection speaks to something deep within—an emotional resonance between art and environment, history and now.
Bowood is a Grade I listed Georgian country house in Wiltshire, England, that has been owned for more than 250 years by the Fitzmaurice family. The house, with interiors by Robert Adam, stands in extensive grounds which include a garden designed by Lancelot "Capability" Brown.
Standing before the iconic towers of the Bibliothèque François Mitterrand, I wanted to capture Dominique Perrault's brilliant concept of the "enchanted forest" at the heart of this temple of knowledge. The four towers, designed as open books reaching toward the sky, frame this hidden garden that can only be glimpsed, never entered.
What fascinated me was this paradox - a forest so close yet unreachable, visible from the reading rooms but forever separated from the public. The autumn colors of the trees created this beautiful dialogue with the warm bronze reflections on the glass facades, as if nature and architecture were speaking the same golden language.
I chose this perspective to emphasize the symmetry and the symbolic power of Perrault's design. The way these monumental towers embrace and protect this secret garden speaks to the relationship between knowledge and nature, between accessibility and mystery.
My intention was to show how this controversial building from the 1990s has aged into something truly poetic. The seasonal transformation of the trees adds a temporal dimension to this timeless architecture, reminding us that even in our most modern spaces, we still need our connection to the natural world.
The image showcases two symmetrical tuck locks with exposed keyholes, emphasizing their robust and practical design. These locks are often used in secure containers, cabinets, and industrial systems where reliable mechanical security is paramount. Featuring intricate metal keyways and lock cores, they employ precision engineering to ensure high resistance against tampering and unauthorized access. The close-up view highlights the fine craftsmanship and durability of these lock mechanisms, demonstrating their essential role in safeguarding valuable items.
"Welcome to the Garden" by Patti Deters. A colorful floral arrangement surrounds the words "Welcome to the Garden" on a blue texture background. Reminiscent of Swedish folk art, this contemporary version uses bright yellows and reds with blue to flowers that are symmetrically placed in this cheerful card or sign. Green vines and leaves complete the design. This image is also available with the words "Home Sweet Home" at the link below. Thank you for viewing this image. If you like nature-inspired artworks, please enjoy more flowers and other plant-focused images at patti-deters.pixels.com/featured/welcome-to-the-garden-pa....
Home Sweet Home: patti-deters.pixels.com/featured/home-sweet-home-patti-de...
There’s something deeply soothing about seeing the Palace of Fine Arts mirrored in its own lagoon. The dome, columns, and pink accents appear softened by distance, like a memory made visible. The gentle ripples on the water turn the reflection into something painterly, abstract yet grounded. Trees frame the neoclassical structure with effortless grace, and the whole scene breathes with quiet elegance. For the highly sensitive, this is more than architecture—it’s a feeling: of calm, of beauty, of balance. Here, history and nature hold hands, and even in the middle of the city, you can feel completely at peace.
Rising regally in the heart of Shinsaibashi, Osaka’s Daimaru flagship department store is a masterclass in early 20th-century Art Deco architecture. Originally designed by American architect William Merrell Vories and opened in 1933, this iconic building is beloved for its geometric harmony, rich material palette, and sheer visual impact. In 2019, the landmark underwent a meticulous renovation that preserved the historic façade while upgrading the interiors to modern luxury standards.
The building’s lower half is clad in creamy stone, intricately carved with floral and lattice motifs. The grand entry arch glows with a striking line of lotus-inspired lights, dramatically backlighting a series of recessed floral medallions. Cast ironwork grilles above the doors feature traditional Japanese elements filtered through a Deco lens—symmetry meets symbolism. Above, the brick façade and rhythmic window pattern evoke a sense of urban elegance, culminating in a tiled upper story that feels both regal and futuristic.
Every element of this structure tells a story: of imported design philosophies mingling with Japanese craft traditions, of Osaka’s post-industrial growth, and of a retail institution adapting gracefully to a new century.
Today, Daimaru Shinsaibashi isn’t just a place to shop—it’s a place to look up, breathe in, and admire a city that holds its history close while always moving forward.
"Under the Sea Mandala" by Patti Deters. This vibrant mandala with symmetrical design features an intricate combination of fish, seaweed, and starfish in purple, pink, blue, and yellow hues. This bright, almost psychedelic design, transports you to a magical underwater world, where fish dart among the seaweed and octopuses dance among the starfish. The circular design features a central motif of a colorful starfish surrounded by swirling waves and seaweed. The intricate details and vibrant colors invite you to lose yourself in the beauty and fantasy of this magical abstract underwater wonderland. Two versions of this image are available - one has the solid white background, and the other has a transparent background so you can customize for whatever background colors you like best - you can see some examples in the product images. Thank you for viewing this image. If you like nature-inspired artworks, please enjoy more animals and other wildlife images at patti-deters.pixels.com/featured/under-the-sea-mandala-pa....
The Bliss & Faville designed building at One Market Street is a standout among San Francisco's early 20th-century architectural treasures. Completed in 1916, this Neoclassical gem epitomizes the grandeur of the era, with its red-brick façade, monumental columns, and intricate cornice detailing. Once a key player in the city's waterfront commerce, One Market's stately presence was a beacon for businesses and merchants as the city's skyline began to rise.
The building’s facade is characterized by symmetry and elegance, with its rusticated lower floors contrasted against the smooth upper levels. The top of the structure boasts a meticulously crafted cornice, giving it a commanding, yet refined, presence on the busy corner of Market Street. Large arched windows bring in natural light and provide stunning views of the San Francisco Bay, making it a prime location for both office spaces and commercial endeavors over the decades.
Designed by the renowned San Francisco-based architectural firm Bliss & Faville, One Market reflects the firm’s attention to classical proportions and ornate detail. This building was a key development in shaping the city’s financial district and remains a celebrated piece of San Francisco's rich architectural history.
With its seamless blend of old-world sophistication and modern-day functionality, One Market continues to serve as a reminder of San Francisco's post-1906 earthquake resilience. It's a must-see for architecture buffs and history enthusiasts alike, offering a glimpse into the city’s evolution.
Nestled in San Francisco’s Cathedral Hill neighborhood, St. Mark’s Lutheran Church is a stunning example of Richardsonian Romanesque architecture—a style rarely seen on the West Coast. Completed in 1895 and designed by architect H. J. Brede, the church is a masterclass in red brick craftsmanship, featuring a striking rose window, arched entryways, and twin towers capped with conical turrets and stone finials.
The symmetrical facade is anchored by three grand arched doors, framed in decorative brick and terracotta detailing, which lead into a richly ornamented sanctuary. Above them, a soaring rose window radiates light into the nave and commands attention from the street. Flanking staircases with ornate iron railings lead visitors upward from the street, elevating the church both literally and symbolically. The thick masonry, clustered windows, and recessed portals give the building its unmistakable Romanesque character—fortified yet welcoming.
St. Mark’s plays an active role in the local community while maintaining its historic character, and it continues to serve as a powerful architectural and spiritual anchor in a city known for its diversity of faith and form. Situated among more modern structures, the church stands as a brick-and-stone sentinel of San Francisco’s 19th-century past—resilient, storied, and beautifully preserved.
Whether you’re a lover of sacred architecture, stained glass, or simply want to glimpse an urban cathedral that looks straight out of 19th-century Europe, St. Mark’s Lutheran is a must-visit gem.
This captivating view of St. Mark’s Lutheran Church in San Francisco highlights the building’s most dramatic features: its soaring Romanesque bell tower, ornate rose window, and turreted corner capped with a slate conical roof and golden cross. Set against a moody sky, the rich red brick and cream stone detailing pop with storybook intensity—echoing the architectural grandeur of 19th-century Europe while remaining uniquely rooted in San Francisco’s Civic Center.
Completed in 1895 and designed by architect H. J. Brede, St. Mark’s is one of the city’s finest examples of Romanesque Revival ecclesiastical design. This composition reveals the tower’s symmetrical arcade of arched louvered windows, bracketed cornices, and decorative inset circles that add texture and depth to the brick facade. The rose window, set within a deep arched frame and flanked by ornate stonework, centers the composition and pulls the viewer’s gaze upward, where the sharply pitched gable and twin towers evoke stability and grace.
Unlike many churches lost to the 1906 earthquake and fire, St. Mark’s survived and has remained a consistent presence in a rapidly evolving neighborhood. Its warm masonry, turreted towers, and formal geometry stand in powerful contrast to the glass and concrete that surrounds it.
Whether you're drawn to its spiritual significance or its historic architecture, this view of St. Mark’s captures the strength, symmetry, and detail that make it one of San Francisco’s most photogenic churches.
Jacobean interior architecture is renowned for its meticulous incorporation of pattern and symmetry, epitomizing an era of opulence and grandeur. Characterized by intricate woodwork, ornate carvings, and lavish detailing, Jacobean interiors exude a sense of sophistication and elegance. The deliberate use of symmetrical arrangements, such as mirrored layouts and balanced proportions, creates a harmonious visual appeal that captivates the observer. Patterns, ranging from intricate floral motifs to geometric designs, adorn walls, ceilings, and furnishings, adding depth and texture to the space. Together, these elements reflect the rich artistic heritage of the Jacobean period, leaving a lasting impression of timeless beauty and refinement.
Jacobean interior architecture captivates with its meticulous use of pattern and symmetry. In this distinguished style, every detail speaks of an era steeped in elegance and refinement. Patterns adorn walls, ceilings, and floors, weaving intricate tales of craftsmanship and artistry. Symmetry reigns supreme, offering a sense of balance and harmony that transcends time. Each element, from ornate woodwork to elaborate tapestries, contributes to the grandeur of the space. Jacobean interiors invite exploration, where every corner reveals a symphony of patterns and a celebration of symmetry, showcasing the enduring allure of this majestic architectural style.
Nestled in San Francisco’s Cathedral Hill neighborhood, St. Mark’s Lutheran Church is a stunning example of Richardsonian Romanesque architecture—a style rarely seen on the West Coast. Completed in 1895 and designed by architect H. J. Brede, the church is a masterclass in red brick craftsmanship, featuring a striking rose window, arched entryways, and twin towers capped with conical turrets and stone finials.
The symmetrical facade is anchored by three grand arched doors, framed in decorative brick and terracotta detailing, which lead into a richly ornamented sanctuary. Above them, a soaring rose window radiates light into the nave and commands attention from the street. Flanking staircases with ornate iron railings lead visitors upward from the street, elevating the church both literally and symbolically. The thick masonry, clustered windows, and recessed portals give the building its unmistakable Romanesque character—fortified yet welcoming.
St. Mark’s plays an active role in the local community while maintaining its historic character, and it continues to serve as a powerful architectural and spiritual anchor in a city known for its diversity of faith and form. Situated among more modern structures, the church stands as a brick-and-stone sentinel of San Francisco’s 19th-century past—resilient, storied, and beautifully preserved.
Whether you’re a lover of sacred architecture, stained glass, or simply want to glimpse an urban cathedral that looks straight out of 19th-century Europe, St. Mark’s Lutheran is a must-visit gem.
Jacobean interior architecture, renowned for its exquisite use of pattern and symmetry, epitomizes timeless elegance and sophistication. Characterized by rich ornamentation and meticulous attention to detail, Jacobean design flourished during the early 17th century, leaving an indelible mark on architectural history. Intricately carved woodwork, elaborate ceiling designs, and symmetrical layouts are hallmarks of this style, reflecting a harmonious balance between form and function. From patterned walls adorned with intricate tapestries to symmetrical arrangements of furniture and decor, every element in a Jacobean interior is meticulously curated to create a sense of grandeur and opulence, making it a testament to the enduring allure of classical design.
Nestled in San Francisco’s Cathedral Hill neighborhood, St. Mark’s Lutheran Church is a stunning example of Richardsonian Romanesque architecture—a style rarely seen on the West Coast. Completed in 1895 and designed by architect H. J. Brede, the church is a masterclass in red brick craftsmanship, featuring a striking rose window, arched entryways, and twin towers capped with conical turrets and stone finials.
The symmetrical facade is anchored by three grand arched doors, framed in decorative brick and terracotta detailing, which lead into a richly ornamented sanctuary. Above them, a soaring rose window radiates light into the nave and commands attention from the street. Flanking staircases with ornate iron railings lead visitors upward from the street, elevating the church both literally and symbolically. The thick masonry, clustered windows, and recessed portals give the building its unmistakable Romanesque character—fortified yet welcoming.
St. Mark’s plays an active role in the local community while maintaining its historic character, and it continues to serve as a powerful architectural and spiritual anchor in a city known for its diversity of faith and form. Situated among more modern structures, the church stands as a brick-and-stone sentinel of San Francisco’s 19th-century past—resilient, storied, and beautifully preserved.
Whether you’re a lover of sacred architecture, stained glass, or simply want to glimpse an urban cathedral that looks straight out of 19th-century Europe, St. Mark’s Lutheran is a must-visit gem.
The Landmark @ One Market, an iconic gateway to one of San Francisco’s most distinguished business addresses, showcases a seamless blend of modern sophistication and historic charm. Located in the heart of the Financial District, this stunning entryway serves as a portal to a timeless piece of architecture. The building dates back to the early 20th century, when it was a hub of commerce and innovation, contributing to the economic boom that shaped San Francisco into the global city it is today.
The entry’s sleek glass façade creates an airy and welcoming space, highlighted by ambient blue lighting that enhances its contemporary appeal. Above, subtle classical architectural elements from the original building remain visible, serving as a nod to its rich history. The ornamental stonework surrounding the glass, with delicate scroll patterns and intricate carvings, provides a striking contrast to the clean, minimalist design of the lobby.
Once inside, visitors are greeted by a spacious corridor lined with towering indoor plants, which soften the industrial materials with a touch of nature. The symmetry and polished marble floors add to the grandeur of the space. This contrast between modern minimalism and historic detail exemplifies San Francisco's spirit—where innovation meets tradition in the most unexpected ways. Whether you're working at a tech startup or heading to a business lunch, The Landmark @ One Market makes a powerful impression.
Perfectly situated near the waterfront, with easy access to public transit and renowned dining spots, The Landmark @ One Market continues to be a prestigious address, merging the past and present with architectural finesse.
"Mandala in Blues" by Patti Deters. A symmetrical circular mandala in shades of blue gives the impression of harmony and balance. The intricacy of the abstract design include radial symmetry and geometric shapes, common to mandalas. Two versions of this image are available - one has the solid white background, and the other has a transparent background so you can customize for whatever background colors you like best - you can see some examples in the product images. Thank you for viewing this image. Please enjoy a variety of additional images at patti-deters.pixels.com/featured/mandala-in-blues-patti-d....
The former Odeon Cinema designed by Harry Weedon and Cecil Clavering in Kingstanding, Birmingham.
Located at the convergence of six roads, the Odeon cinema stands out as the tallest building within the locality. As the cinema is surrounded on both sides by roads it dominates the environment. The cinema is one of the best surviving Odeon cinemas in Britain and represents one of the finest works of the Weedon Partnership. This area is particularly fortunate to have two of the most significant surviving Odeon Cinemas in the country; within a few miles of Kingstanding stands the Odeon Sutton Coldfield.
Unlike many other Odeon cinemas the Kingstanding cinema employs a symmetrical design. A central section of three slender faience (glazed tiles) fins rise behind the curved, cantilevered entrance canopy with large "Odeon" lettering. The top of the outermost fins features "CINEMA" lettering. Projecting from the main body of the building is the main frontage again featuring faience; the corners are gently, elegantly curved. The main body of the building is of brown brick, the front corners are again subtly curved. The frontage features prominent horizontal banding which flow across the curved canopy from one side of the building to the other. The roof-line of the main body of the building, of brown brick, rises in steps to abut the central fins.
The cinema was closed on 1st December 1962 and converted into a Top Rank Bingo Club. Today the building still serves as a bingo hall, but for the Mecca Bingo company. The cinema was granted Grade-II listed status on 10 October 1980 at a time when the building was less than fifty years old.
One of a series of symmetrical designs. See the set here: www.flickr.com/photos/david_lewis_baker_arts/sets/7215762...
Strictly speaking, a true symmetry only exists in patterns which repeat exactly and continue indefinitely. But most of my symmetrical works only have reflections in horizontal and vertical directions, not across diagonal axes. If we flip across a diagonal line, we do not get the same pattern back; what we do get is the original pattern shifted across by a certain distance.
The relationship of symmetry to aesthetics is complex. Certain simple symmetries, and in particular bilateral symmetry, seem to be deeply ingrained in the inherent perception by humans of the likely health or fitness of other living creatures, as can be seen by the simple experiment of distorting one side of the image of an attractive face and asking viewers to rate the attractiveness of the resulting image. Consequently, such symmetries that mimic biology tend to have an innate appeal that in turn drives a powerful tendency to create artefacts with similar symmetry. One only needs to imagine the difficulty in trying to market a highly asymmetrical car or truck to general automotive buyers to understand the power of biologically inspired symmetries such as bilateral symmetry.
Yet another possibility is that when symmetries become too complex or too challenging, the human mind has a tendency to "tune them out" and perceive them in yet another fashion: as noise that conveys no useful information. Finally, perceptions and appreciation of symmetries are also dependent on cultural background. The far greater use of complex geometric symmetries in many Islamic cultures, for example, makes it more likely that people from such cultures will appreciate such art forms (or, conversely, to rebel against them).
As in many human endeavours, the result of the confluence of many such factors is that effective use of symmetry in art and architecture is complex, intuitive, and highly dependent on the skills of the individuals who must weave and combine such factors within their own creative work. Along with texture, colour, proportion, and other factors, symmetry is a powerful ingredient in any such synthesis; one only need to examine the Taj Mahal to powerful role that symmetry plays in determining the aesthetic appeal of an object.
Adapted from: en.wikipedia.org/wiki/Symmetry
One of a series of symmetrical designs. See the set here: www.flickr.com/photos/david_lewis_baker_arts/sets/7215762...
Strictly speaking, a true symmetry only exists in patterns which repeat exactly and continue indefinitely. But most of my symmetrical works only have reflections in horizontal and vertical directions, not across diagonal axes. If we flip across a diagonal line, we do not get the same pattern back; what we do get is the original pattern shifted across by a certain distance.
The relationship of symmetry to aesthetics is complex. Certain simple symmetries, and in particular bilateral symmetry, seem to be deeply ingrained in the inherent perception by humans of the likely health or fitness of other living creatures, as can be seen by the simple experiment of distorting one side of the image of an attractive face and asking viewers to rate the attractiveness of the resulting image. Consequently, such symmetries that mimic biology tend to have an innate appeal that in turn drives a powerful tendency to create artefacts with similar symmetry. One only needs to imagine the difficulty in trying to market a highly asymmetrical car or truck to general automotive buyers to understand the power of biologically inspired symmetries such as bilateral symmetry.
Yet another possibility is that when symmetries become too complex or too challenging, the human mind has a tendency to "tune them out" and perceive them in yet another fashion: as noise that conveys no useful information. Finally, perceptions and appreciation of symmetries are also dependent on cultural background. The far greater use of complex geometric symmetries in many Islamic cultures, for example, makes it more likely that people from such cultures will appreciate such art forms (or, conversely, to rebel against them).
As in many human endeavours, the result of the confluence of many such factors is that effective use of symmetry in art and architecture is complex, intuitive, and highly dependent on the skills of the individuals who must weave and combine such factors within their own creative work. Along with texture, colour, proportion, and other factors, symmetry is a powerful ingredient in any such synthesis; one only need to examine the Taj Mahal to powerful role that symmetry plays in determining the aesthetic appeal of an object.
Adapted from: en.wikipedia.org/wiki/Symmetry
One of a series of symmetrical designs. See the set here: www.flickr.com/photos/david_lewis_baker_arts/sets/7215762...
Strictly speaking, a true symmetry only exists in patterns which repeat exactly and continue indefinitely. But most of my symmetrical works only have reflections in horizontal and vertical directions, not across diagonal axes. If we flip across a diagonal line, we do not get the same pattern back; what we do get is the original pattern shifted across by a certain distance.
The relationship of symmetry to aesthetics is complex. Certain simple symmetries, and in particular bilateral symmetry, seem to be deeply ingrained in the inherent perception by humans of the likely health or fitness of other living creatures, as can be seen by the simple experiment of distorting one side of the image of an attractive face and asking viewers to rate the attractiveness of the resulting image. Consequently, such symmetries that mimic biology tend to have an innate appeal that in turn drives a powerful tendency to create artefacts with similar symmetry. One only needs to imagine the difficulty in trying to market a highly asymmetrical car or truck to general automotive buyers to understand the power of biologically inspired symmetries such as bilateral symmetry.
Yet another possibility is that when symmetries become too complex or too challenging, the human mind has a tendency to "tune them out" and perceive them in yet another fashion: as noise that conveys no useful information. Finally, perceptions and appreciation of symmetries are also dependent on cultural background. The far greater use of complex geometric symmetries in many Islamic cultures, for example, makes it more likely that people from such cultures will appreciate such art forms (or, conversely, to rebel against them).
As in many human endeavours, the result of the confluence of many such factors is that effective use of symmetry in art and architecture is complex, intuitive, and highly dependent on the skills of the individuals who must weave and combine such factors within their own creative work. Along with texture, colour, proportion, and other factors, symmetry is a powerful ingredient in any such synthesis; one only need to examine the Taj Mahal to powerful role that symmetry plays in determining the aesthetic appeal of an object.
Adapted from: en.wikipedia.org/wiki/Symmetry
One of a series of symmetrical designs. See the set here: www.flickr.com/photos/david_lewis_baker_arts/sets/7215762...
Strictly speaking, a true symmetry only exists in patterns which repeat exactly and continue indefinitely. But most of my symmetrical works only have reflections in horizontal and vertical directions, not across diagonal axes. If we flip across a diagonal line, we do not get the same pattern back; what we do get is the original pattern shifted across by a certain distance.
The relationship of symmetry to aesthetics is complex. Certain simple symmetries, and in particular bilateral symmetry, seem to be deeply ingrained in the inherent perception by humans of the likely health or fitness of other living creatures, as can be seen by the simple experiment of distorting one side of the image of an attractive face and asking viewers to rate the attractiveness of the resulting image. Consequently, such symmetries that mimic biology tend to have an innate appeal that in turn drives a powerful tendency to create artefacts with similar symmetry. One only needs to imagine the difficulty in trying to market a highly asymmetrical car or truck to general automotive buyers to understand the power of biologically inspired symmetries such as bilateral symmetry.
Yet another possibility is that when symmetries become too complex or too challenging, the human mind has a tendency to "tune them out" and perceive them in yet another fashion: as noise that conveys no useful information. Finally, perceptions and appreciation of symmetries are also dependent on cultural background. The far greater use of complex geometric symmetries in many Islamic cultures, for example, makes it more likely that people from such cultures will appreciate such art forms (or, conversely, to rebel against them).
As in many human endeavours, the result of the confluence of many such factors is that effective use of symmetry in art and architecture is complex, intuitive, and highly dependent on the skills of the individuals who must weave and combine such factors within their own creative work. Along with texture, colour, proportion, and other factors, symmetry is a powerful ingredient in any such synthesis; one only need to examine the Taj Mahal to powerful role that symmetry plays in determining the aesthetic appeal of an object.
Adapted from: en.wikipedia.org/wiki/Symmetry
One of a series of symmetrical designs. See the set here: www.flickr.com/photos/david_lewis_baker_arts/sets/7215762...
Strictly speaking, a true symmetry only exists in patterns which repeat exactly and continue indefinitely. But most of my symmetrical works only have reflections in horizontal and vertical directions, not across diagonal axes. If we flip across a diagonal line, we do not get the same pattern back; what we do get is the original pattern shifted across by a certain distance.
The relationship of symmetry to aesthetics is complex. Certain simple symmetries, and in particular bilateral symmetry, seem to be deeply ingrained in the inherent perception by humans of the likely health or fitness of other living creatures, as can be seen by the simple experiment of distorting one side of the image of an attractive face and asking viewers to rate the attractiveness of the resulting image. Consequently, such symmetries that mimic biology tend to have an innate appeal that in turn drives a powerful tendency to create artefacts with similar symmetry. One only needs to imagine the difficulty in trying to market a highly asymmetrical car or truck to general automotive buyers to understand the power of biologically inspired symmetries such as bilateral symmetry.
Yet another possibility is that when symmetries become too complex or too challenging, the human mind has a tendency to "tune them out" and perceive them in yet another fashion: as noise that conveys no useful information. Finally, perceptions and appreciation of symmetries are also dependent on cultural background. The far greater use of complex geometric symmetries in many Islamic cultures, for example, makes it more likely that people from such cultures will appreciate such art forms (or, conversely, to rebel against them).
As in many human endeavours, the result of the confluence of many such factors is that effective use of symmetry in art and architecture is complex, intuitive, and highly dependent on the skills of the individuals who must weave and combine such factors within their own creative work. Along with texture, colour, proportion, and other factors, symmetry is a powerful ingredient in any such synthesis; one only need to examine the Taj Mahal to powerful role that symmetry plays in determining the aesthetic appeal of an object.
Adapted from: en.wikipedia.org/wiki/Symmetry
One of a series of symmetrical designs. See the set here: www.flickr.com/photos/david_lewis_baker_arts/sets/7215762...
Strictly speaking, a true symmetry only exists in patterns which repeat exactly and continue indefinitely. But most of my symmetrical works only have reflections in horizontal and vertical directions, not across diagonal axes. If we flip across a diagonal line, we do not get the same pattern back; what we do get is the original pattern shifted across by a certain distance.
The relationship of symmetry to aesthetics is complex. Certain simple symmetries, and in particular bilateral symmetry, seem to be deeply ingrained in the inherent perception by humans of the likely health or fitness of other living creatures, as can be seen by the simple experiment of distorting one side of the image of an attractive face and asking viewers to rate the attractiveness of the resulting image. Consequently, such symmetries that mimic biology tend to have an innate appeal that in turn drives a powerful tendency to create artefacts with similar symmetry. One only needs to imagine the difficulty in trying to market a highly asymmetrical car or truck to general automotive buyers to understand the power of biologically inspired symmetries such as bilateral symmetry.
Yet another possibility is that when symmetries become too complex or too challenging, the human mind has a tendency to "tune them out" and perceive them in yet another fashion: as noise that conveys no useful information. Finally, perceptions and appreciation of symmetries are also dependent on cultural background. The far greater use of complex geometric symmetries in many Islamic cultures, for example, makes it more likely that people from such cultures will appreciate such art forms (or, conversely, to rebel against them).
As in many human endeavours, the result of the confluence of many such factors is that effective use of symmetry in art and architecture is complex, intuitive, and highly dependent on the skills of the individuals who must weave and combine such factors within their own creative work. Along with texture, colour, proportion, and other factors, symmetry is a powerful ingredient in any such synthesis; one only need to examine the Taj Mahal to powerful role that symmetry plays in determining the aesthetic appeal of an object.
Adapted from: en.wikipedia.org/wiki/Symmetry
One of a series of symmetrical designs. See the set here: www.flickr.com/photos/david_lewis_baker_arts/sets/7215762...
Strictly speaking, a true symmetry only exists in patterns which repeat exactly and continue indefinitely. But most of my symmetrical works only have reflections in horizontal and vertical directions, not across diagonal axes. If we flip across a diagonal line, we do not get the same pattern back; what we do get is the original pattern shifted across by a certain distance.
The relationship of symmetry to aesthetics is complex. Certain simple symmetries, and in particular bilateral symmetry, seem to be deeply ingrained in the inherent perception by humans of the likely health or fitness of other living creatures, as can be seen by the simple experiment of distorting one side of the image of an attractive face and asking viewers to rate the attractiveness of the resulting image. Consequently, such symmetries that mimic biology tend to have an innate appeal that in turn drives a powerful tendency to create artefacts with similar symmetry. One only needs to imagine the difficulty in trying to market a highly asymmetrical car or truck to general automotive buyers to understand the power of biologically inspired symmetries such as bilateral symmetry.
Yet another possibility is that when symmetries become too complex or too challenging, the human mind has a tendency to "tune them out" and perceive them in yet another fashion: as noise that conveys no useful information. Finally, perceptions and appreciation of symmetries are also dependent on cultural background. The far greater use of complex geometric symmetries in many Islamic cultures, for example, makes it more likely that people from such cultures will appreciate such art forms (or, conversely, to rebel against them).
As in many human endeavours, the result of the confluence of many such factors is that effective use of symmetry in art and architecture is complex, intuitive, and highly dependent on the skills of the individuals who must weave and combine such factors within their own creative work. Along with texture, colour, proportion, and other factors, symmetry is a powerful ingredient in any such synthesis; one only need to examine the Taj Mahal to powerful role that symmetry plays in determining the aesthetic appeal of an object.
Adapted from: en.wikipedia.org/wiki/Symmetry
One of a series of symmetrical designs. See the set here: www.flickr.com/photos/david_lewis_baker_arts/sets/7215762...
Strictly speaking, a true symmetry only exists in patterns which repeat exactly and continue indefinitely. But most of my symmetrical works only have reflections in horizontal and vertical directions, not across diagonal axes. If we flip across a diagonal line, we do not get the same pattern back; what we do get is the original pattern shifted across by a certain distance.
The relationship of symmetry to aesthetics is complex. Certain simple symmetries, and in particular bilateral symmetry, seem to be deeply ingrained in the inherent perception by humans of the likely health or fitness of other living creatures, as can be seen by the simple experiment of distorting one side of the image of an attractive face and asking viewers to rate the attractiveness of the resulting image. Consequently, such symmetries that mimic biology tend to have an innate appeal that in turn drives a powerful tendency to create artefacts with similar symmetry. One only needs to imagine the difficulty in trying to market a highly asymmetrical car or truck to general automotive buyers to understand the power of biologically inspired symmetries such as bilateral symmetry.
Yet another possibility is that when symmetries become too complex or too challenging, the human mind has a tendency to "tune them out" and perceive them in yet another fashion: as noise that conveys no useful information. Finally, perceptions and appreciation of symmetries are also dependent on cultural background. The far greater use of complex geometric symmetries in many Islamic cultures, for example, makes it more likely that people from such cultures will appreciate such art forms (or, conversely, to rebel against them).
As in many human endeavours, the result of the confluence of many such factors is that effective use of symmetry in art and architecture is complex, intuitive, and highly dependent on the skills of the individuals who must weave and combine such factors within their own creative work. Along with texture, colour, proportion, and other factors, symmetry is a powerful ingredient in any such synthesis; one only need to examine the Taj Mahal to powerful role that symmetry plays in determining the aesthetic appeal of an object.
Adapted from: en.wikipedia.org/wiki/Symmetry
One of a series of symmetrical designs. See the set here: www.flickr.com/photos/david_lewis_baker_arts/sets/7215762...
Strictly speaking, a true symmetry only exists in patterns which repeat exactly and continue indefinitely. But most of my symmetrical works only have reflections in horizontal and vertical directions, not across diagonal axes. If we flip across a diagonal line, we do not get the same pattern back; what we do get is the original pattern shifted across by a certain distance.
The relationship of symmetry to aesthetics is complex. Certain simple symmetries, and in particular bilateral symmetry, seem to be deeply ingrained in the inherent perception by humans of the likely health or fitness of other living creatures, as can be seen by the simple experiment of distorting one side of the image of an attractive face and asking viewers to rate the attractiveness of the resulting image. Consequently, such symmetries that mimic biology tend to have an innate appeal that in turn drives a powerful tendency to create artefacts with similar symmetry. One only needs to imagine the difficulty in trying to market a highly asymmetrical car or truck to general automotive buyers to understand the power of biologically inspired symmetries such as bilateral symmetry.
Yet another possibility is that when symmetries become too complex or too challenging, the human mind has a tendency to "tune them out" and perceive them in yet another fashion: as noise that conveys no useful information. Finally, perceptions and appreciation of symmetries are also dependent on cultural background. The far greater use of complex geometric symmetries in many Islamic cultures, for example, makes it more likely that people from such cultures will appreciate such art forms (or, conversely, to rebel against them).
As in many human endeavours, the result of the confluence of many such factors is that effective use of symmetry in art and architecture is complex, intuitive, and highly dependent on the skills of the individuals who must weave and combine such factors within their own creative work. Along with texture, colour, proportion, and other factors, symmetry is a powerful ingredient in any such synthesis; one only need to examine the Taj Mahal to powerful role that symmetry plays in determining the aesthetic appeal of an object.
Adapted from: en.wikipedia.org/wiki/Symmetry
One of a series of symmetrical designs. See the set here: www.flickr.com/photos/david_lewis_baker_arts/sets/7215762...
Strictly speaking, a true symmetry only exists in patterns which repeat exactly and continue indefinitely. But most of my symmetrical works only have reflections in horizontal and vertical directions, not across diagonal axes. If we flip across a diagonal line, we do not get the same pattern back; what we do get is the original pattern shifted across by a certain distance.
The relationship of symmetry to aesthetics is complex. Certain simple symmetries, and in particular bilateral symmetry, seem to be deeply ingrained in the inherent perception by humans of the likely health or fitness of other living creatures, as can be seen by the simple experiment of distorting one side of the image of an attractive face and asking viewers to rate the attractiveness of the resulting image. Consequently, such symmetries that mimic biology tend to have an innate appeal that in turn drives a powerful tendency to create artefacts with similar symmetry. One only needs to imagine the difficulty in trying to market a highly asymmetrical car or truck to general automotive buyers to understand the power of biologically inspired symmetries such as bilateral symmetry.
Yet another possibility is that when symmetries become too complex or too challenging, the human mind has a tendency to "tune them out" and perceive them in yet another fashion: as noise that conveys no useful information. Finally, perceptions and appreciation of symmetries are also dependent on cultural background. The far greater use of complex geometric symmetries in many Islamic cultures, for example, makes it more likely that people from such cultures will appreciate such art forms (or, conversely, to rebel against them).
As in many human endeavours, the result of the confluence of many such factors is that effective use of symmetry in art and architecture is complex, intuitive, and highly dependent on the skills of the individuals who must weave and combine such factors within their own creative work. Along with texture, colour, proportion, and other factors, symmetry is a powerful ingredient in any such synthesis; one only need to examine the Taj Mahal to powerful role that symmetry plays in determining the aesthetic appeal of an object.
Adapted from: en.wikipedia.org/wiki/Symmetry
One of a series of symmetrical designs. See the set here: www.flickr.com/photos/david_lewis_baker_arts/sets/7215762...
Strictly speaking, a true symmetry only exists in patterns which repeat exactly and continue indefinitely. But most of my symmetrical works only have reflections in horizontal and vertical directions, not across diagonal axes. If we flip across a diagonal line, we do not get the same pattern back; what we do get is the original pattern shifted across by a certain distance.
The relationship of symmetry to aesthetics is complex. Certain simple symmetries, and in particular bilateral symmetry, seem to be deeply ingrained in the inherent perception by humans of the likely health or fitness of other living creatures, as can be seen by the simple experiment of distorting one side of the image of an attractive face and asking viewers to rate the attractiveness of the resulting image. Consequently, such symmetries that mimic biology tend to have an innate appeal that in turn drives a powerful tendency to create artefacts with similar symmetry. One only needs to imagine the difficulty in trying to market a highly asymmetrical car or truck to general automotive buyers to understand the power of biologically inspired symmetries such as bilateral symmetry.
Yet another possibility is that when symmetries become too complex or too challenging, the human mind has a tendency to "tune them out" and perceive them in yet another fashion: as noise that conveys no useful information. Finally, perceptions and appreciation of symmetries are also dependent on cultural background. The far greater use of complex geometric symmetries in many Islamic cultures, for example, makes it more likely that people from such cultures will appreciate such art forms (or, conversely, to rebel against them).
As in many human endeavours, the result of the confluence of many such factors is that effective use of symmetry in art and architecture is complex, intuitive, and highly dependent on the skills of the individuals who must weave and combine such factors within their own creative work. Along with texture, colour, proportion, and other factors, symmetry is a powerful ingredient in any such synthesis; one only need to examine the Taj Mahal to powerful role that symmetry plays in determining the aesthetic appeal of an object.
Adapted from: en.wikipedia.org/wiki/Symmetry
One of a series of symmetrical designs. See the set here: www.flickr.com/photos/david_lewis_baker_arts/sets/7215762...
Strictly speaking, a true symmetry only exists in patterns which repeat exactly and continue indefinitely. But most of my symmetrical works only have reflections in horizontal and vertical directions, not across diagonal axes. If we flip across a diagonal line, we do not get the same pattern back; what we do get is the original pattern shifted across by a certain distance.
The relationship of symmetry to aesthetics is complex. Certain simple symmetries, and in particular bilateral symmetry, seem to be deeply ingrained in the inherent perception by humans of the likely health or fitness of other living creatures, as can be seen by the simple experiment of distorting one side of the image of an attractive face and asking viewers to rate the attractiveness of the resulting image. Consequently, such symmetries that mimic biology tend to have an innate appeal that in turn drives a powerful tendency to create artefacts with similar symmetry. One only needs to imagine the difficulty in trying to market a highly asymmetrical car or truck to general automotive buyers to understand the power of biologically inspired symmetries such as bilateral symmetry.
Yet another possibility is that when symmetries become too complex or too challenging, the human mind has a tendency to "tune them out" and perceive them in yet another fashion: as noise that conveys no useful information. Finally, perceptions and appreciation of symmetries are also dependent on cultural background. The far greater use of complex geometric symmetries in many Islamic cultures, for example, makes it more likely that people from such cultures will appreciate such art forms (or, conversely, to rebel against them).
As in many human endeavours, the result of the confluence of many such factors is that effective use of symmetry in art and architecture is complex, intuitive, and highly dependent on the skills of the individuals who must weave and combine such factors within their own creative work. Along with texture, colour, proportion, and other factors, symmetry is a powerful ingredient in any such synthesis; one only need to examine the Taj Mahal to powerful role that symmetry plays in determining the aesthetic appeal of an object.
Adapted from: en.wikipedia.org/wiki/Symmetry