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Plate XLII+: Moresque (Moorish) No. 4, Moresque ornament from the Alhambra (5. Paneling on the walls, House of Sanchez. 6. Part of the ceiling of the portico of the Court of the Fish-pond.)
Owen Jones (British designer, 1809-1874)
1856 57 cm (page height) x 39 cm (page width)
From: Jones, Owen. The grammar of ornament ; Illustrated by examples from various styles of ornament. One hundred and twelve plates, Folio ed., London: B. Quaritch, 1910
See MCAD Library's catalog record for this book.
My goal was to deconstruct this modern architectural element into pure pattern. By isolating these repeating green shutters against their grey backdrop, I created a rhythm that challenges our perception of scale and space. The tight framing deliberately removes any context, forcing the viewer to focus on the interplay of color, shape, and repetition.
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.
I decided to do some monotone embroidery in a departure from my more usual colorful embroidery. This iPhone 4 cozy is embroidered in light gray cotton on gray wool felt
Collection: Cornell University Collection of Political Americana, Cornell University Library
Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University
Title: 1900 Republican National Convention Admission Ticket
Political Party: Republican
Election Year: 1900
Date Made: 1900
Measurement: Ticket & Stub: 2 5/8 x 6 in.; 6.6675 x 15.24 cm
Classification: Ephemera
Persistent URI: http://hdl.handle.net/1813.001/619z
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
front cover Folio ed. 1910
Owen Jones (British designer, 1809-1874)
1856 57 cm (page height) x 39 cm (page width)
From: Jones, Owen. The grammar of ornament ; Illustrated by examples from various styles of ornament. One hundred and twelve plates, Folio ed., London: B. Quaritch, 1910
See MCAD Library's catalog record for this book.
This wonderful Art Deco walnut case wireless radio was made by the New Zealand manufacturers, Temple. According to its serial number, it was made in 1935 and is very much typical of a wireless found in most middle-class homes during the 1930s. It has a pyramid case; still a popular shape after “Egyptomania” or “Tutmania” gripped the world after the discovery of Pharaoh Tutankhamen’s tomb in 1922. Its edges however, are rounded, hinting at the Streamline Moderne style so popular in the mid 1930s. Whilst the fine veneer is a warm walnut, the very Art Deco speaker grille and the two fin details on the front are made of stained blackwood. The manufacturer’s name is picked out in brass on red enamel above the convex glass dial and the lozenge knobs are of mottled chocolate brown Bakelite (an early form of plastic that came into everyday use in the 1920s and 30s). Worked with beautiful glass valves, this radio has to be allowed to warm up before use, but still works beautifully, sending forth a soft, slightly dappled sound that only wireless radios of this era and vintage can do. It can still pick up all AM radio stations as well as shortwave radio from around the world.
Private collection.
Behold this spectacular convergence of science, art, and the San Francisco waterfront, captured perfectly at dusk or in the early blue hour. The centerpiece is a large, contemporary geodesic dome sculpture, instantly recognizable by its intricate pattern of interconnected hexagons and pentagons. This structure sits prominently on a pier, close to the Exploratorium, radiating a captivating cool blue LED light that makes the entire installation glow against the darkening sky.
The color palette is strictly limited and highly effective. The blue illumination from the structure itself provides the main visual energy, contrasting with the pale, neutral tones of the metal struts that support it and the gray concrete of the pier floor. This blue hour setting allows the remaining sky to hold a deep indigo hue, amplifying the intensity of the light within the sculpture. The effect is futuristic and mesmerizing, lending the industrial area a touch of high-tech wonder.
In the background, the scene is grounded by the traditional, horizontal lines of the old pier warehouses—long, low buildings with corrugated metal siding, reflecting the area’s industrial heritage. This juxtaposition—the smooth, complex geometry of the glowing sphere and the utilitarian, straight lines of the background architecture—is what makes the image so compelling. The sculpture stands tall on four simple, light-colored support pillars, enclosed by a low metal mesh railing, inviting viewers to approach and observe its structural complexity. Flanking the sculpture, a tall banner confirms the location, linking this artistic moment directly to the educational and innovative spirit of the nearby institution.
The photograph captures a quiet, transitional moment. There's no heavy traffic, only the stillness of the early morning (or late evening), allowing the focus to remain solely on the hypnotic, crystalline structure and its blue luminescence. It serves as a visual metaphor for the city itself: a place where old infrastructure serves as the base for bold, intelligent, and brightly illuminated new ideas. It's a striking portrait of modern San Francisco, celebrating both its history and its ongoing commitment to public art and scientific curiosity.
© 2005 All rights reserved by JulioC.
Paris (August 2005)
Taken in Paris (quartier La Défense - business quarter, as seen inside the "Arche de la Défense" - width: 108m)
My other photos: Most Interesting | Random photos | In Explore | Photo-Blog
Collection: Cornell University Collection of Political Americana, Cornell University Library
Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University
Title: 1872 National Democratic Convention Admission Ticket
Political Party: Democratic
Election Year: 1872
Date Made: 1872
Measurement: Ticket: 2 3/4 x 4 1/4 in.; 6.985 x 10.795 cm
Classification: Ephemera
Persistent URI: http://hdl.handle.net/1813.001/619k
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
Vortex Seed is the Seed of Life Swirling in the Vortex of Creation! Acrylic on 12x12" canvas.
Purchase Prints @ phoenixlove.net/product/vortex-seed
A close look at Portugal’s artistry in tilework reveals a world of geometry, rhythm, and light. This pattern of azulejos—hand-painted ceramic tiles—features interlocking stars and diamonds in vivid blue, golden amber, and soft violet tones. Each line seems to pulse with precision, forming a mosaic that’s both mathematical and deeply human.
The design speaks to centuries of cultural exchange—Moorish influence meeting Iberian craftsmanship. These tiles were never just decoration; they were language. In their repetition lies a kind of meditation, a steady hum of symmetry and history that reflects Portugal’s layered identity.
Viewed up close, the slight imperfections—the brushstrokes, the uneven glaze—make each tile unique, a reminder that even in perfect order, there’s beauty in the handmade.
Walls of two buildings (a grey and white one on the left, a blue glass one on the right) appear to be meeting, and perhaps even be butted together at right angles, near the middle of the frame. This is of course a visual illusion aided by the spatial compression of a long lens.
[jbm-20250531-sl3-020]
Complete this adorable quilt using fabrics from the iBot Collection from Red Rooster Fabrics @alinefabrics.com
*pattern compliments of Red Rooster Fabrics
.Lines cross, curves bend, and light slips between the spaces left untouched. A pattern emerges, not by accident, but by design—woven together in perfect rhythm, each piece relying on the next to create something whole. The eye follows the paths, tracing the weave like a story unfolding in layers, bending and meeting again.
Strength is found in the intersection, beauty in the precision. A structure built not from chaos, but from harmony. In this moment, geometry and artistry merge, forming a silent symphony of repetition, symmetry, and depth.
Please do not use my photographs without my permission.
Send me an email request through flickr if you would like to use them.
© Mr.Volk
With people wishing to have smaller and more easily managed houses after the Great War (1914 - 1918), architects began designing new ways of living in the 1920s and 1930s including flats and maisonettes.
This wonderfully stylised 1930s Streamline Moderne pair of maisonettes (two houses joined by a shared central wall), is a perfect example of this new way of living during the Interwar period.
The maisonette in this photograph, which is only one of the two, shows round porthole feature windows with rippled glass, stuccoed brick walls with speed line detailing, a natutical porch lamp, a rounded porch and rounded front steps. This is totally different to its pair, which has the honeyed clinker brick walls exposed with horizontal bars of brown bricks and geometric patterns in concrete between the streamlined windows.
This way, even though the maisonettes were joined, the owners did not have to sacrifice their individuality!
Collection: Cornell University Collection of Political Americana, Cornell University Library
Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University
Title: 1904 Democratic National Convention Admission Ticket
Political Party: Democratic-Republican
Election Year: 1904
Date Made: 1904
Measurement: Ticket with 3 stubs: 2 3.4 x 8 3/4 in.; x 22.225 cm
Classification: Ephemera
Persistent URI: http://hdl.handle.net/1813.001/61b2
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
Step inside the magnificent Great Hall (Salão Nobre) of the National Palace of Pena, the crown jewel of Sintra’s architectural wonders. This grand reception room perfectly encapsulates the eclectic 19th-century Romanticism of King Ferdinand II, blending Gothic, Manueline, and Moorish Revival influences into a dazzling display of royal luxury.
The image captures the room’s breathtaking intricate stucco walls, which feature elaborate geometric and floral relief patterns reminiscent of Alhambra-style arabesques. Dominating the space is the massive, gold-plated chandelier, whose dozens of candles once illuminated the palace's most important banquets and social gatherings. Below, rows of deep red leather armchairs and sofas line the polished parquet floor, preserving the atmosphere of the Portuguese monarchy’s summer residence. The warm light highlights the delicate pink and white tones of the plasterwork, contrasting beautifully with the dark wood furniture. This interior shot offers a rare glimpse into the lavish lifestyle of the "Artist King" and the enduring beauty of this UNESCO World Heritage treasure.
Cambridge Central Mosque - Detail of the abstract Islamic geometric design by Professor Keith Critchlow on the doors of the prayer hall.
A closeup of the simple geometric weave of a household glider, illuminated by the warmth of the evening sun, reveals striking patterns and colors, as well as several missed weaves.
Collection: A. D. White Architectural Photographs, Cornell University Library
Accession Number: 15/5/3090.01064
Title: Feathers Inn, Ludlow (Shropshire)
Photographer: Carl Norman (British, active ca. 1870-ca. 1890)
Building Date: 8th-14th century
Photograph date: ca. 1865-ca. 1886
Location: Europe: United Kingdom; Glastonbury
Materials: albumen print
Image: 6 5/8 x 8 5/8 in.; 16.8275 x 21.9075 cm
Provenance: Gift of Andrew Dickson White
Persistent URI: http://hdl.handle.net/1813.001/5t69
There are no known copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
We had some help with the geocoding from Web Services by Yahoo!
At Hearst Castle, history and artistry meet craftsmanship in the ongoing restoration of its magnificent ceilings, such as the one featured here. This intricately carved coffered ceiling combines geometric patterns and floral motifs, drawing inspiration from Moorish and Renaissance designs. Rich in detail, the deep red and gold hues speak to its opulent origins, while the restoration work breathes new life into this historic masterpiece. Each starburst and floral pattern is delicately sculpted, reflecting the grandeur that William Randolph Hearst envisioned for his legendary estate.
The ceiling's restoration showcases the careful preservation of Hearst Castle’s architectural heritage. Expert artisans work to retain the original texture and style, ensuring that future visitors will continue to be captivated by its historic charm. These ceilings are emblematic of Hearst’s love for European art and culture, and the restoration efforts highlight the estate’s commitment to preserving this artistic legacy.
Visitors to Hearst Castle are offered a rare glimpse into the painstaking process of historic restoration, with an emphasis on maintaining authenticity. This ceiling, like many others throughout the estate, serves as a symbol of Hearst's passion for design and history. With each visit, one can appreciate the careful attention to detail and dedication that has gone into keeping these ceilings timeless, ensuring they remain a highlight of any tour.
Colorful diamond shapes embroidered on taupe linen make a colorful statement.
I embroidered rows of colorful diamond shapes on linen, and mounted the embroidery on a brass circle to give the pendant weight so it would hand nicely from a chain. I backed the embroidery with soft purple ultra suede, and created a beaded bezel around the embroidery to frame the pendant using tiny metallic bronze seed beads. The pendant hangs from a brass chain with teal beaded accents at the ends. The chain is threaded through an ultra suede loop on the back of the pendant and the closure is a brass lobster claw clasp.
Dimensions: The pendant is 1.625 inches in diameter. The chain measures 18 inches overall, including the clasp.
A black and white capture of the intricate interplay between multiple high-rise buildings in an urban setting located in the Calle 50 at Panama City. The image emphasizes the contrasting architectural styles, from the reflective surfaces to the geometric patterns, all converging under the city's glowing lights.
Plate LXIV: Celtic No. 2, Interlaced styles. (1-5, 10-22, 26, 42-44. are borders of interlaced ribbon patterns, copied from Anglo-Saxon and Irish manuscripts. 6,7. Interlaced ribbon patterns, from the Golden Gospels. 8. Terminal ornament of initial letter, formed of interlaced and spiral lines, from the Gospels in the Paris Library, no. 693. 9. Interlaced ornament, from Irish manuscript at St. Gall. 23. Terminal ornament of initial letter from the Coronation Book of the Anglo-Saxon Kings. 24. Terminal ornament, with foliage and naturally drawn animals introduced, from the Golden Gospels. 27. Angulated ornament, with interlacement, from the Bible of St. Denis. 28. Pattern of angulated lines, from the Gospels of Lindisfarne. 29. Interlaced panel, from the Psalter of St. Augustine. 30. Ornament formed of four triquetrae conjoined, from the the Franco-Saxon Sacramentarium of St. Gregory. 31. Part of gigantic initial letter, from the Franco Saxon Bible of St. Denis. 32. Quatrefoil interlaced ornament, from the Rheims Sacramentarium. 33 Angularly interlaced ornament, from the Golden Gospels. 34 and 37. Interlaced ornaments, formed of red dots, from the Gospels of Lindisfarne. 35. Interlaced triquetral pattern, from the Coronation Gospels of Anglo-Saxon Kings. 36 Circular ornament of four conjoined triquetrae, from the Sacramentarium of Rheims. 38 and 40. Initial letters from the Gospels of Lindisfarne, with interlaced patterns, animals and angulated lines. 39. Terminal ornament, with dogs' heads, from the Franco-Saxon Sacramentarium of Rheims. 41 and 45. Quadrangular interlaced ornaments, from the Missal of Leofric.)
Owen Jones (British designer, 1809-1874)
1856 57 cm (page height) x 39 cm (page width)
From: Jones, Owen. The grammar of ornament ; Illustrated by examples from various styles of ornament. One hundred and twelve plates, Folio ed., London: B. Quaritch, 1910
See MCAD Library's catalog record for this book.