View allAll Photos Tagged geometricpattern
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 superfÃcie 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 edifÃcios 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.
A corner of Grand Central Terminal against a new glassy neighbor - on East 42nd Street, NYC
[GX85-1080047 PScc]
Out for a walk, I was struck by how precisely and symmetrically the snow had been blown into this pattern on a concrete block retaining wall. I took several views that I'm happy with, but I think I like this one best, with the bands disappearing into the corner of pure snow. The lines were on an angle from where I was standing, so I tilted the camera to match the lines. This is also one of those shots that you may think is b&w, but then may begin to realize you're actually looking at a color shot: note the small spot of brown bleeding through in the upper middle. I've also posted a monochrome, if you prefer — though I like this one better.
I looked straight down into a food mill sieve and noticed how the tiny holes turned the light into a pattern of glowing dots. From this angle the kitchen tool almost stopped looking like a tool at all, becoming a warm, abstract circle of light and repeating shapes.
The outer peristyle's garden-facing portico rewards a dead-center axis that most visitors walk through rather than stop to read. Standing back at gravel level, framing the composition between the clipped box parterres, the image collapses the Villa's theatrical layering into a single compressed plane: terracotta antefixes marching across a saturated Pompeian red fascia, the coffered ceiling's ochre and cream geometry, Doric columns bleached white against a Southern California sky that could plausibly pass for the Bay of Naples on a cooperative afternoon. The aedicule centered in the rear wall — that miniature shrine-like window surround — acts as a bull's-eye pulling the eye through the portico's depth and anchoring the bilateral symmetry that Norris Hatch & Faulkner's original 1974 design borrowed wholesale from the Villa dei Papiri at Herculaneum. Machado Silvetti's 2006 renovation restored the polychrome program to something closer to scholarly consensus on Roman domestic color, and this framing makes the argument viscerally: this is not beige antiquity. The topiary geometry below mirrors the ceiling's coffering above, a formal rhyme the straight-on position makes legible in a way that any oblique angle would dissolve.
Back in Melbourne we visited the National Gallery of Victoria (NGV) at Federation Square. This houses the finest collection of Australian art in the country (largely the result of several major bequests going back to the halcyon days of the Victorian gold rush in the 1880s).
The architecture of Federation Square is clearly post-modern, in so far as it seems to be an eclectic mix of radical styles based on geometric patterns. This atrium is a good example. It is through here that we enter the NGV (Federation Square).
The architects of Federation Square were Peter Davidson and Donald Bates from Lab Architecture.
For a surprise birthday celebration.. hues of yellow with a pop of grey. Love that colour combo! Featuring a hand sculpted sugar peony on top.
It was weird of Sears to think it needed a specially dedicated building just for making keys.
Ugh the humorless self-satisfaction of the key shop's 20th century customers. I hate to remember those people.
I do like whoever chose pink as the color of the siding.
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In Toledo, Ohio, on April 28th, 2018, outside an abandoned Sears store (closed 2017) off the north side of Central Avenue (Ohio State Route 120) between Secor Road and Executive Parkway.
The building was erected in 1960, according to the Lucas County government's "Auditor's Real Estate Information System" website.
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Getty Thesaurus of Geographic Names terms:
• Lucas (county) (1002611)
• Toledo (7014378)
Art & Architecture Thesaurus terms:
• abandoned buildings (300008055)
• black (color) (300130920)
• department stores (300005344)
• dots (300010145)
• evening (300343633)
• geometric patterns (300165213)
• keys (hardware) (300033579)
• kraft paper (300014133)
• Mid-Century Modernist (300343610)
• outbuildings (300008001)
• pink (color) (300124707)
• siding (300014861)
• sunset (300343635)
• white (color) (300129784)
Wikidata items:
• 28 April 2018 (Q45920259)
• 1960 in architecture (Q2812256)
• 1960s in architecture (Q11185676)
• April 28 (Q2534)
• April 2018 (Q23994861)
• business failure (Q5001874)
• key duplication (Q60788515)
• Northwest Ohio (Q7060133)
• Ohio State Route 120 (Q2491917)
• Sears (Q6499202)
• stop sign (Q250429)
• Treaty of Detroit (Q1639077)
• vacant building (Q56056305)
I wonder who would have lived this view the most: a warrior on the lookout, or a lonely princess, or one of the Maharajah's concubines?
Jaipur, Rajasthan, India
Nikon D800
24-70 f/2.8
A low-angle view of a windmill's lattice sail rising into a wispy, cirrus-streaked blue sky, with the corrugated edge of a nearby roof cutting into the corner of the frame.
A striking view of a modern architectural structure with repeating geometric columns reflecting in a still pool at the Tianfu Art Corridor. The background features a contemporary urban skyline under a clear blue sky, blending architecture with city life.
Captured in Panama City, this abstract snapshot of a skyscraper showcases its meticulously layered facade. The image emphasizes the building's rhythmic patterns, drawing the viewer into the cadence of urban architecture in a city renowned for its skyline.
A dramatic black and white architectural street photograph capturing a lone woman crossing the Big Red Bridge in Salford Quays. The striking ironwork structure creates a geometric tunnel effect, with the low sun streaming through and casting bold, repetitive shadows across the bridge deck. The silhouetted figure provides human scale against the monumental industrial engineering, while the bright sunburst at the end of the bridge creates a powerful focal point. The interplay of light and shadow transforms this functional pedestrian crossing into a study of pattern, geometry, and solitude. The Victorian-era ironwork demonstrates the enduring beauty of Manchester's industrial heritage repurposed for modern urban connectivity.
Hot air balloon envelope (interior view), partially inflated - Albuquerque, NM
Description
The image shows the inside of a hot air balloon canopy viewed from below while the balloon is being inflated on the ground. The composition is centered on the circular apex vent (parachute valve) at the top, from which radial fabric panels extend outward in concentric rings.
The fabric pattern consists of alternating bands of saturated red, magenta/pink, yellow, and purple, arranged in a geometric checkerboard and ring structure. The strong symmetry creates a target-like visual effect, with the eye drawn directly to the center.
The lower edge of the frame reveals the balloon skirt resting on the ground, indicating this is likely during pre-launch inflation rather than in flight. Fine suspension lines and internal seams are visible, emphasizing the engineering structure of the envelope.
Visual / Compositional Notes
Radial symmetry centered precisely on the apex
High color saturation with warm dominance (red/yellow)
Graphic abstraction quality—reads almost like optical art
Minimal depth cues, strong two-dimensional patterning
Repetition and rhythm through concentric bands
This functions well as both documentary (ballooning event) and abstract geometric imagery.
I captured this hand-held long exposure shot at a Washington DC Metro station, showcasing the dynamic motion of a passing train. The blurred lights and streaks of color convey a sense of speed and energy, which contrasts with the geometric patterns of the station's vaulted ceiling. This image encapsulates city life's bustling atmosphere and rhythmic flow, transforming an everyday commute into a vibrant urban scene.
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This intimate, close-up photograph captures the skilled hands of a weaver guiding a shuttle through the warp threads of a wooden loom. The emerging textile features a striking black and white geometric pattern, showcasing the precision and artistry of the craft. The warm, focused lighting highlights the texture of the yarn and the smooth wood, creating a mood of quiet concentration and timeless tradition.
Tailored jacquard mini skirt with a sharp silhouette and black-ivory geometric weave.
Designed to pair with the Bianca Blazer.
Marketplace:
marketplace.secondlife.com/p/Bianca-Skirt/28077037
Landmark:
maps.secondlife.com/secondlife/Sunny%20Seaside/229/206/2097
Aurora's Design
Erguendo-se a 210 metros de altura em Casablanca, Marrocos, o minarete da Mesquita Hassan II é uma estrutura imponente que personifica a arquitetura islâmica contemporânea. ConcluÃdo em 1993 sob a visão do Rei Hassan II e projetado pelo arquiteto francês Michel Pinseau, o minarete destaca-se pela sua combinação de tradição e inovação. A sua construção integra artesanato marroquino, com intrincados padrões geométricos em zellige, pedra calcária esculpida à mão, granito do Atlas, mármore de Agadir e madeira de cedro, enquanto a engenharia moderna garante a resistência à atividade sÃsmica e aos ventos costeiros. No topo, um feixe laser com alcance de 30 quilómetros aponta permanentemente para Meca, simbolizando a orientação espiritual. A mesquita, parcialmente construÃda sobre o Oceano Atlântico, reflete um versÃculo do Alcorão e pode acolher milhares de fiéis. Aberta a não-muçulmanos, a Mesquita Hassan II é um centro cultural e um sÃmbolo da identidade marroquina, combinando a espiritualidade com a paisagem costeira.
Rising 210 meters high in Casablanca, Morocco, the minaret of the Hassan II Mosque is an imposing structure that embodies contemporary Islamic architecture. Completed in 1993 under the vision of King Hassan II and designed by French architect Michel Pinseau, the minaret stands out for its combination of tradition and innovation. Its construction incorporates Moroccan craftsmanship, with intricate geometric patterns in zellige, hand-carved limestone, Atlas granite, Agadir marble, and cedar wood, while modern engineering ensures resistance to seismic activity and coastal winds. At the top, a laser beam with a range of 30 kilometers permanently points towards Mecca, symbolizing spiritual guidance. The mosque, partially built over the Atlantic Ocean, reflects a verse from the Koran and can accommodate thousands of worshippers. Open to non-Muslims, the Hassan II Mosque is a cultural center and a symbol of Moroccan identity, combining spirituality with the coastal landscape.
A black and white photograph capturing the dense, geometric patterns of city high-rises, contrasted by the organic diagonal lines of rain and intersected by stark horizontal power lines. The juxtaposition of nature's gentle rain and the man-made verticality created a dance between the organic and inorganic. A reminder that even in the heart of a concrete jungle, rhythms of life and nature persist.
Pl. X: Egyptian No. 7 (1-5. From mummy cases in the Louvre, at a late period. Geometrical arrangements of the single lotus-leaf. 6. from a tomb at Thebes. Each circle is formed of four lotus-flowers and four buds, the intermediate star probably intended for four lotus-leaves. 7 From a tomb at Thebes. 8, 9. From a mummy case. 10-24. From ceilings of tombs in various parts of Egypt. In nos. 10, 13-16, 18-23, are various examples of an ornament representing the unwinding of a pile of rope, which may have given the first suggestion of the volute. In no. 24 the continuous blue line is evidently from the same type.)
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, London: B. Quaritch, 1868
See MCAD Library's catalog record for this book.