View allAll Photos Tagged geometricpattern
Mísula decorativa localizada no Claustro Pequeno do Convento da Madre de Deus, atualmente integrado no Museu Nacional do Azulejo, em Lisboa. Este elemento arquitetónico, esculpido em pedra, evidencia a influência do estilo manuelino, característico do início do século XVI em Portugal, reconhecível pelos motivos vegetalistas e naturalistas, como folhas entrelaçadas, que remetem à exaltação da natureza e à riqueza simbólica da época. A mísula serve de suporte estrutural e decorativo, integrando-se harmoniosamente na abóbada de nervuras e dialogando com o revestimento de azulejos policromados do pavimento, típico da azulejaria portuguesa. O Claustro Pequeno constitui o núcleo mais antigo do convento, fundado em 1509 por D. Leonor, rainha de Portugal, e reflete a transição entre o gótico tardio e o renascimento, testemunhando a importância do convento enquanto espaço religioso e artístico. A preservação destes detalhes permite compreender a evolução da arte e arquitetura conventual em Portugal.
Decorative corbel located in the Small Cloister of the Convent of Madre de Deus, currently part of the National Tile Museum in Lisbon. This architectural element, carved in stone, shows the influence of the Manueline style, characteristic of the early 16th century in Portugal, recognizable by its plant and naturalistic motifs, such as intertwined leaves, which refer to the exaltation of nature and the symbolic richness of the period. The corbel serves as a structural and decorative support, blending harmoniously into the ribbed vault and dialoguing with the polychrome tile covering of the floor, typical of Portuguese tile work. The Small Cloister is the oldest part of the convent, founded in 1509 by D. Leonor, Queen of Portugal, and reflects the transition between the late Gothic and Renaissance periods, testifying to the importance of the convent as a religious and artistic space. The preservation of these details allows us to understand the evolution of convent art and architecture in Portugal.
Standing at the base of this cooling tower, I wanted to capture how the concrete structure creates a mesmerizing spiral toward the sky. The natural lighting through the central opening adds drama, while the concentric patterns draw viewers into a geometric journey upward.
Lisbon’s Santa Justa Lift isn’t just a way to get from A to B—it’s a masterpiece of ironwork and history. Built in 1902, this neo-Gothic beauty connects downtown Baixa to the higher streets of Bairro Alto, offering stunning city views at the top. Inspired by Eiffel’s engineering, it’s one of Lisbon’s most iconic structures.
While exploring nearby, I focused on the interplay of shadows, lines, and shapes rather than the landmark itself. The harsh light, corrugated textures, and the lone passerby gave this scene an almost cinematic feel—minimal yet full of movement.
Holy hell, this black-and-white shot of Naniboujou Lodge's dining room is a savage gut-punch. What was once a screaming psychedelic riot—Cree murals exploding in reds, blues, yellows, greens like a bad acid trip in the North Woods—has been bled dry into grayscale madness.
The color's gone, ripped out like ether from the veins, leaving raw textures and patterns that knife through the shadows: vaulted ceiling zigzags, stone fireplace looming like a pagan altar, bentwood chairs waiting like conspirators. No more rainbow frenzy; just stark, elegant brutality—timeless, vicious, pulling you into the void where form and shadow bite harder than any hue ever could.
Damn if it isn't beautiful in its stripped-down fury.
Against a perfect blue sky, I composed this study of a modernist apartment building in Toulouse. The repetitive pattern of windows and balconies creates a geometric grid, while the vibrant turquoise adds a distinctly Mediterranean feel to the urban landscape.
Here is yet another glass chapel very similar to the first I posted, both of which were created by Euine Fay Jones. This particular one is located near Bella Vista, Arkansas.
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What explodes onto your senses when you first behold the Mildred B. Cooper Memorial Chapel is not at all what was anticipated when you began down the meandering trail from the parking lot. It is not only the Chapel's lofty heights, or the massive wooden doors, or even the arches upon arches that gracefully flow above and below each other giving the impression of airy wonder...What is most impressive is that a building of this magnitude, designed and created by the mind of a man, could so seamlessly fit into the natural scene which envelopes it.
Bella Vista is proud to be the home of the Mildred B. Cooper Memorial Chapel. The Chapel was created by renowned Arkansas architect Euine Fay Jones. In 1991, Fay Jones was awarded the American Institute of Architecture's highest award, the AIA Gold Medal. Fay was a student of Frank Lloyd Wright where he was first introduced to the principle of Organic Architecture (designing to fit the environment).
Built to honor Mildred Borum Cooper, wife of John A. Cooper, Sr., Founder of Cooper Communities, Inc, the Chapel is a fitting memorial. Besides being a devoted wife, mother, and member of the community, Mrs. Cooper had a deep spirituality and love for nature. Her family commissioned the Chapel in her honor to celebrate her life and her dedication to God and his creations.
beautifulbellavista.com/chapel.htm
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Mildred B. Cooper Memorial Chapel
Bella Vista, Arkansas
081917
© Copyright 2017 MEA Images, Merle E. Arbeen, All Rights Reserved. If you would like a copy of this, please feel free to contact me through my FlickrMail, Facebook, or Yahoo email account. Thank you.
I was fascinated by the interplay of pattern, colour and light. Repeating squares, intersecting lines and shifting proportions create a geometry that seems to change the longer you look.
The red cuts through the white, while the low sunlight brings depth and texture.
I love discovering compositions like this. Sometimes photography is simply recognising how the light has transformed something we usually walk straight past.
at the palma de mallorca airport, time feels like a dance of fleeting moments. the polished floor reflects the soft chaos of movement — a man walking past, the still alignment of luggage carts waiting for their next task. shadows and light play out a silent rhythm, like a traveler’s pulse quickening with anticipation. there is a subtle elegance in the mundane, a quiet poetry in the way the world moves when no one notices. this is the heartbeat of transition, caught in monochrome simplicity.
the subject sits amidst the industrial heart of paris, caught in a private moment of conversation, her thoughts flowing like the urban energy around her. the geometric patterns of the centre pompidou blur behind her, hinting at the constant motion and life that surrounds her, but in this frame, time seems paused. her expression, calm yet introspective, offers a window into the stillness we all seek, even when immersed in the city's hum. the contrast between the sharp lines of her attire and the soft blur of the background plays into the delicate balance of personal moments in public spaces, where noise meets quiet, and the individual remains alone in thought.
Magnolia Cone Close-Up. Found it while walking under a large Magnolia tree. This one fell off the tree prematurely either by weather or blight.
A carved Art Deco frieze of stylized leaves and zigzags runs across a rough concrete wall, with a tiled tower edge at upper left. The steep angle and saturated blue sky give the stonework a sharp graphic quality. Taken at Wrigley Botanical Gardens in Avalon.
Looking up inside Galleria Sciarra in Rome reveals a unique fusion of architecture, decoration, and light. The glass ceiling opens a view to the sky, filtering daylight onto the richly painted walls and intricate details of the gallery. Standing at the center and gazing upward, geometry and ornament meet, creating a striking sense of depth and harmony.
This cactus shows a striking geometric pattern of long golden spines radiating from ribbed areoles along its green stem.
Looking straight up inside The Broad's third-floor gallery, the museum's signature "veil" reveals itself as something closer to sculpted topography than ceiling. Diller Scofidio + Renfro, working with Gensler as executive architect, conceived this honeycomb shell as both façade and roof — a porous concrete-and-fiberglass-reinforced lattice that wraps the entire building before folding inward to filter daylight onto Eli and Edythe Broad's contemporary collection. From this angle, the rhomboidal coffers read as a series of soft-edged scoops, each one cradling a sliver of glazing that admits diffused north light without ever letting the sun strike a canvas directly. The geometry is computationally derived but feels biological — vertebrae, gills, the underside of a mushroom cap. I framed tight to strip away orientation, letting the cells repeat across the frame so the eye can't easily locate floor or wall. The warm cast of the spotted track lighting plays against the cool blue daylight bleeding through the oculi, a temperature split that's central to how the gallery actually feels in person. It's a building that performs its environmental logic out in the open — the veil is the mechanism, not the disguise.
Black and white street photography of a silhouetted figure walking across the Big Red bridge (Manchester Ship Canal footbridge) at Salford Quays, Manchester. The dramatic image captures the geometric patterns of the steel truss bridge structure, with strong shadows cast by the framework creating bold lines across the walkway. The pedestrian provides human scale against the impressive industrial engineering of this iconic footbridge. The monochrome treatment emphasizes the contrast between light and shadow, highlighting the architectural details of the bridge's latticed steel construction while creating an atmospheric urban scene that showcases both the industrial heritage and modern accessibility of the Salford Quays development.
Bianca Blazer
Structured jacquard blazer with a sculpted silhouette and black-ivory geometric weave.
Marketplace:
marketplace.secondlife.com/p/Bianca-Blazer/28077030
Landmark:
maps.secondlife.com/secondlife/Sunny%20Seaside/229/206/2097
Aurora's Design
Ambition:
a willingness to strive for attainment or a strong desire to achieve a great task; typically requiring self determination and hard work.
The dramatic timber columns and red latticework of Kanazawa Station’s Tsuzumimon Gate frame the station entrance in bold symmetry.
O Forte da Graça, ou Forte de Lippe, em Elvas, ergue-se como um exemplar da arquitetura militar setecentista, construído entre 1763 e 1792 sob a direção do Conde de Lippe. A fortificação abaluartada, com planta estrelada, integra o sistema defensivo da raia e foi modernizada sob a égide pombalina. No interior do reduto central, o átrio da Casa do Governador destaca-se pelo pavimento de mármore regional com padrões geométricos, iluminado por um óculo zenital. As paredes apresentam inscrições e representações de âncoras que funcionavam como propaganda nacionalista em 1930, exaltando a soberania ultramarina e a vocação marítima de Portugal num espaço de reclusão. O conjunto, que articula robustez militar e elementos neoclássicos, reflete a engenharia militar e a história de Portugal, fazendo parte da classificação UNESCO "Cidade Fronteiriça e Fortificações de Elvas".
The Forte da Graça, or Forte de Lippe, in Elvas, stands as an example of 18th-century military architecture, built between 1763 and 1792 under the direction of the Count of Lippe. The star-shaped bastioned fortification is part of the defensive system of the border and was modernized under the Pombaline regime. Inside the central stronghold, the atrium of the Governor's House stands out for its regional marble floor with geometric patterns, illuminated by a zenithal oculus. The walls feature inscriptions and representations of anchors that served as nationalist propaganda in 1930, extolling Portugal's overseas sovereignty and maritime vocation in a space of seclusion. The complex, which combines military robustness and neoclassical elements, reflects Portugal's military engineering and history, forming part of the UNESCO classification “Border Town and Fortifications of Elvas.”
High above eye level, San Francisco’s architectural history often reveals itself most clearly in the ceiling. These three views focus on the richly ornamented ceilings of the Sylvester House, a rare surviving Victorian interior where pattern, proportion, and light were treated as essential parts of daily life rather than decoration alone.
Painted motifs repeat with deliberate rhythm: botanical tracery, geometric borders, star fields, and medallions designed to guide the eye upward and steady the room. The craftsmanship rewards slow looking. Nothing here shouts. Instead, color is restrained and confident—soft creams, muted blues, oxidized golds, and warm earth tones balanced against deep shadow. Light fixtures are not focal points so much as anchors, organizing the space and reinforcing symmetry.
In San Francisco, interiors like this survive quietly, often overlooked in favor of façades and street scenes. Yet they tell a deeper story about how Victorian homes were meant to be experienced: vertically, ceremonially, and with an attention to detail that assumed time and care from both maker and viewer. The ceilings do not compete with the room; they complete it.
Photographed with an emphasis on alignment, texture, and tonal balance, these images document the Sylvester House as a living artifact of the city’s domestic architecture—one that continues to reward patience, curiosity, and an upward glance.
Brassica 'Romanesco' displays a striking natural fractal pattern of spiraling, cone-shaped florets in bright chartreuse green.
O "padrão de Marvila", presente no Museu Nacional do Azulejo, é um dos exemplos mais emblemáticos da azulejaria portuguesa seiscentista. Conhecido também como "padrão rico de Marvila", este padrão, composto por módulos de 12x12 azulejos com motivos geométricos e vegetalistas em azul, amarelo e branco, destaca-se pela sua aplicação monumental na Igreja de Nossa Senhora da Assunção de Marvila (ou Igreja de Santa Maria de Marvila), em Santarém. Com mais de 65 000 azulejos cobrindo 1200 m² de paredes interiores, a igreja é considerada a maior superfície de azulejaria do século XVII em Portugal, justificando a designação de "catedral do azulejo seiscentista". O padrão, que apresenta uma composição geométrica, frequentemente em losango, com predominância de azuis de cobalto e amarelos ocre sobre fundo branco, e motivos florais e arabescos de influência mudéjar, reflete as influências maneiristas e renascentistas, marcando a transição técnica para a majólica e a progressiva emancipação da azulejaria portuguesa relativamente à influência hispano-mourisca. Utilizado também em outros edifícios religiosos e nobres, este padrão, exemplifica a riqueza ornamental e a inovação técnica da azulejaria portuguesa do século XVII, criando efeitos visuais de continuidade e ordenação espacial.
The "Marvila pattern", present in the National Tile Museum, is one of the most emblematic examples of Portuguese seventeenth-century tiles. Also known as the "rich pattern of Marvila", this pattern, composed of modules of 12x12 tiles with geometric and vegetalist motifs in blue, yellow and white, stands out for its monumental application in the Church of Nossa Senhora da Assunção de Marvila (or Church of Santa Maria de Marvila), in Santarém. With more than 65,000 tiles covering 1200 m² of interior walls, the church is considered the largest 17th century tile surface in Portugal, justifying the designation of "Cathedral of the 17th century tile". The pattern, which features a geometric composition, often in a diamond shape, with a predominance of cobalt blues and ocher yellows on a white background, and floral motifs and arabesques of Mudejar influence, reflects the mannerist and Renaissance influences, marking the technical transition to majolica and the progressive emancipation of Portuguese tiles from the Hispanic-Moorish influence. Also used in other religious and noble buildings, this pattern exemplifies the ornamental richness and technical innovation of Portuguese tiles of the 17th century, creating visual effects of continuity and spatial ordering.
This photograph, taken from a unique low-angle perspective, captures the architecture of Punta Pacifica, Panama. Utilizing the Canon RF 16mm f/2.8 STM Lens, the image portrays the towering buildings as they converge towards the sky, creating a surreal cityscape canopy. Shot in high-contrast black and white, the photograph amplifies these edifices' structural intricacies and geometrical alignment.
Played around with Adobe a little with this one.
A small bit of crop, levels adj, high pass filter with soft light blend, tweak some contrast, add some saturation, and top it off with a dash of unsharp mask.
Using dramatic upward perspective, I transformed this Chabanon tower into a stark study of light and shadow. The black and white treatment emphasizes the repetitive pattern of balconies, creating a visual melody that plays with architectural geometry.
This photo was taken inside the Abdulaziz-Khan Madrasah in Bukhara, one of the richestly decorated buildings along the old Silk Road. The ceiling is a masterpiece of 17th-century Central Asian craftsmanship: a mix of painted stucco, muqarnas (stalactite-like vaulting), and intricate floral and geometric patterns.
Compared to the older Ulugh Beg Madrasah across the square, which is more sober and geometric, this madrasah feels almost theatrical. The design blends Persian, local, and even Mughal influences, showing how art and architecture evolved in this region during the Ashtarkhanid dynasty.
What struck me most was the unexpected use of warm colors and animal motifs — rare in Islamic architecture — and how well everything has survived centuries of history. Sometimes, you need to pause and look up.
.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.
Mother Nature supplies most peoples with a lot of stones and rocks, but these precious gifts are used variously. In New England in USA they are used to make fences, as they are in parts of England. Many old streets were made of cobblestones. But in Andalusia I noticed that the stones were set in an artistic fashion to create stunning plazas. This image is from Córdoba.
Archaic Greek terracotta 'Pappades' or plank idol from Boeotia. The defining characteristic of these figures is the high, cylindrical, or flared crown (called a polos). In ancient Greece, a polos was explicitly associated with high-status female divinities like Hera, Demeter, or Aphrodite. This face, which is typical for the type, is commonly called a mouse face or a bird face in academic literature - a basic schematic of a human face. Long locks of curly hair hang down past her shoulders, and she wears a woolen peplos with an overfold (called an apoptygma). She also appears to be wearing a necklace with a pomegranate pendant - a fruit strongly associated with Persephone and her mother Demeter. The pomegranate also symbolizes fertility and rebirth.
Early scholarship suggested these figurines represented the "heroized dead," but the consensus among modern art historians is that they likely represent female deities. They are referred to in the modern era as "pappades", a name given to them by the Boeotian villagers who first found them in their fields and who noticed that the polos resembled the cylindrical headdress worn by modern Greek Orthodox priests (pappas). The vast majority of these figures were produced for religious sanctuaries. Everyday worshippers purchased them from local potters to leave at altars as a physical, permanent prayer or token of gratitude to the gods.
Greek, Boeotia, early 6th century BCE. Painted terracotta.
6.75 in. (17.1 cm)
Fine Arts Museums of San Francisco, Legion of Honor (1925.346.8)
High above eye level, San Francisco’s architectural history often reveals itself most clearly in the ceiling. These three views focus on the richly ornamented ceilings of the Sylvester House, a rare surviving Victorian interior where pattern, proportion, and light were treated as essential parts of daily life rather than decoration alone.
Painted motifs repeat with deliberate rhythm: botanical tracery, geometric borders, star fields, and medallions designed to guide the eye upward and steady the room. The craftsmanship rewards slow looking. Nothing here shouts. Instead, color is restrained and confident—soft creams, muted blues, oxidized golds, and warm earth tones balanced against deep shadow. Light fixtures are not focal points so much as anchors, organizing the space and reinforcing symmetry.
In San Francisco, interiors like this survive quietly, often overlooked in favor of façades and street scenes. Yet they tell a deeper story about how Victorian homes were meant to be experienced: vertically, ceremonially, and with an attention to detail that assumed time and care from both maker and viewer. The ceilings do not compete with the room; they complete it.
Photographed with an emphasis on alignment, texture, and tonal balance, these images document the Sylvester House as a living artifact of the city’s domestic architecture—one that continues to reward patience, curiosity, and an upward glance.