View allAll Photos Tagged geometricpattern
captured within the captivating architecture of the oculus, part of the world trade center complex, this image showcases the vast, open space and unique structural design that defines this iconic transportation hub. the repetition of lines and curves draws the eye into the distance, where a solitary figure walks, adding a human element to the grandeur of the space. the high-contrast black and white composition emphasizes the geometric patterns and creates a dramatic, timeless feel. this photograph captures a moment of quiet amidst the flow of daily commuters, highlighting the blend of art and functionality in modern urban architecture.
As the oldest part of Lisbon (and the only neighbourhood still intact after the destruction of the 1755 earthquake), Alfama has the strongest roots in Portuguese culture and heritage.
Its winding streets act as a giant mosaic, pin-pricked with colorful tiles (called "Azulejo" - painted tin-glazed ceramic tilework) that paint a larger picture of the city. Houses are dressed up in geometric patterns, whilst intimate workshops prove the craft is still going strong.
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.
The high still-point of the light maze is found in the central room. As we look up we are faced with a gorgeous mandala, reminiscent of the exquisite geometric patterns found in Islamic mosques.
Given the subject matter of H.P. Lovecraft's late collection of stories, "Necronomicon" seems like a reasonable title. If you're not familiar with Lovecraft's work, look him up. You find hours of entertaining reading there.
Um grupo de turistas descansa nos degraus do portal românico da Igreja de San Martín, em Salamanca, um edifício fundado em 1103 e erguido no século XII, considerado o segundo mais importante da cidade após a Catedral Velha. A estrutura destaca-se por seu portal principal, adornado com múltiplos arcos concêntricos que apresentam detalhes geométricos e vegetais, além de arquivoltas decoradas que culminam num nicho superior com o relevo de São Martinho a cavalo, uma cena emblemática do seu padroado. O tímpano superior conserva frescos hagiográficos e as colunas laterais, terminadas em capitéis historiados, sustentam o conjunto, cuja fachada é composta por pedra de Villamayor, conferindo-lhe a típica tonalidade dourada. O monumento, que enfrentou diversas alterações e problemas de estabilidade ao longo do tempo, foi declarado Monumento Histórico-Artístico Nacional em 1931.
A group of tourists rests on the steps of the Romanesque portal of the Church of San Martín in Salamanca, a building founded in 1103 and erected in the 12th century, considered the second most important in the city after the Old Cathedral. The structure is notable for its main portal, adorned with multiple concentric arches featuring geometric and vegetal details, as well as decorated archivolts culminating in an upper niche with the relief of St. Martin on horseback, an emblematic scene of his patronage. The upper tympanum preserves hagiographic frescoes and the side columns, ending in historiated capitals, support the whole, whose façade is composed of Villamayor stone, giving it the typical golden hue. The monument, which has faced several changes and stability problems over time, was declared a National Historic-Artistic Monument in 1931.
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.
Built by the Public Works Department for a princely £7,000.00, the Mount Buffalo Chalet was opened in 1910 by the Victorian State Government as Australia’s first ski lodge, and it quickly became a popular destination within the alpine region. Initially leased to private enterprise as a guest house, The Chalet was taken over by Victorian Railways in October 1924. Described as the “last word in luxury”, The Chalet featured large sitting rooms, ample fireplaces, a smoking room, well ventilated rooms of capacious size and hot and cold baths. They offered holiday packages with train services running to Porpunkah railway station and then a connecting Hoys Roadlines service. It was a very popular destination for newlyweds as the perfect place for a honeymoon, and over the years traditions began to emerge such as an elegant dress code within The Chalet, a dinner gong to announce dinner, costume parties and grand balls in The Chalet’s ballroom.
Originally intended to be built in granite, cost blowouts of £3,000.00 meant that instead The Chalet was built of timber. To this day, it is still the largest timber construction in Victoria. It was designed in the fashionable Arts and Crafts style of the period. Reminiscent in style to northern European Chalet architecture, the Mt Buffalo Chalet is built on a coursed random rubble plinth, with a series of hipped and gabled corrugated iron roofs. Originally designed as a symmetrical, gabled roof building, early additions were carried out in a similar style and continued the symmetry of the front facade. The second storey addition to the central wing altered the appearance of the building, however the bungalow character was retained. Slender rough cast render chimneys with tapering tops and random coursed rubble bases, a decorative barge board over the main entry, decorative timber brackets supporting timber shingled gable ends, exposed rafters and double hung, paned windows are all typical architectural details of the Arts and Crafts Movement. It was constructed over a thirty year period during which time extensions, extra wings and outbuildings were added and removed with the changing times and its tourism demands. Improvements were made soon after construction and these included a golf links in 1911, a north wing addition in 1912 and a south wing and billiard room in 1914. Heating and lighting in The Chalet was improved and upgraded in 1919. Between 1921 and 1922, an addition to the south wing increased bedroom and bathroom facilities. The billiard room was moved to the front of the house and the terraced garden, with rubble granite retaining walls, was laid out at the front of The Chalet. The present dining room, the kitchen and billiard room wings were constructed in 1925, and the original dining room was converted to a ballroom, with a stage. Balustrading along the front of the building was removed and large windows inserted to provide uninterrupted views. Between 1937 and 1938 major alterations were made with the extension of the south wing and a second storey added to the central wing of the building. At this time the provisions for two hundred guests at The Chalet was noted as more than equalling the best Melbourne hotels. Internally, some remnants of decoration remain, reflecting various stages of The Chalet’s development, and these can be viewed through The Chalet’s large windows, where several suites, the lounge and the dining room are all set up to display what the accommodation was like. The formal terraced gardens built around the Mount Buffalo Chalet were seen as a civilising image within the context of the wild and relatively harsh Australian landscape. The key built features if the gardens seen today remain intact. The garden’s shape and form remain largely unchanged from when they were created including the stonewalling, terracing, central set of stairs and exposed bedrock.
The Mount Buffalo Chalet is lovingly sometimes referred to as the “Grand Old Lady”. If nothing else, she is a unique survivor of the earliest days of recreational skiing in Australia. It was included on the Victorian Heritage Register in 1992 and is maintained today as a time capsule to show what life was like when tourism was done on a grand scale.
This is a huge construction crane reflecting off of a building in downtown Baton Rouge. There seems to be a LOT of construction going on there.
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.
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.
One of the things I love about my inner city neighbourhood is the fact that we have a wonderful diversity in beautiful architectural style of housing. Although housing from the mid 1800s exists in my area, over time it became more suburbanised, particularly with the arrival of the train and tram routes around the turn of the Twentieth Century, and then the extension of these as the Metroland of the 1920s and 30s sprung up. There are many streets that have heritage overlays on them. Therefore, there are some wonderful Art Deco style villas from the 1920s and 1930s that still have their original fences and gates.
This year the FFF+ Group have decided to have a weekly challenge called “Snap Happy”. A different theme chosen by a member of the group each week, and the image is to be posted on the Monday of the week.
This week the theme, “geometry” was chosen by GG, Greenstone Girl.
This low Art Deco brick wall with its triangular pinnacle and decorative brick panels and this cast iron gate with its geometric pattern seemed like perfect choices for the theme.
Art Deco is a European style that celebrated the exciting and dynamic aspects of the machine age. It was all about sleekness, sharp lines, and vivid decorative elements like fins, fans, speed lines, portal windows and low relief sculpture. There was also a drive towards the clean lines of geometry in design.
Geometry is the part of mathematics that studies the size, shapes, positions and dimensions of things. Squares, circles and triangles are some of the simplest shapes in flat geometry. Cubes, cylinders, cones and spheres are simple shapes in solid geometry.
By capturing this building from this particular vantage point, I wanted to transcend ordinary architecture to reveal its sculptural dimension. The upward angle and black and white treatment transform this urban facade into an abstract composition where concrete dialogues with space. The contrast between smooth surfaces and the rhythmic central band creates a visual tension that guides the eye towards infinity. I chose to isolate the subject against a dark background to amplify its presence and verticality, thus transforming an everyday architectural element into a meditation on urban geometry. This image is part of my ongoing exploration of the hidden poetry in modern architecture and how light can reveal the extraordinary in the ordinary.
Here's my shiny fidget spinner again reflecting an array of multicolor LED Christmas lights. In addition to spinning on its own axis, the little gizmo is sitting on a turntable at 45 RPM.
The only "post processing" done here is a complete blackening of the already-mostly black-blackground and a small brightness/contrast edit.
f/8, ISO400, 6 sec exp; 50mm.
[C7 7590]
Colourful kites with various patterns and designs float against a vibrant yellow background. Ribbons or tails in different shades add a dynamic and whimsical touch to the scene.
Reflections, lines, geometric shapes and patterns in the facades at 6th Ave and 43rd Street, NYC
[GX85-1080037 PScc]
RAW Conversion only. Colours as shot. No Photoshop processing.
Copyright © 2010 Jacqueline Stewart Brown. All rights reserved. Photos may not be reproduced without the permission of Jacqueline Stewart Brown.
Tunbridge Ware is a form of decoratively inlaid woodwork, typically in the form of boxes, that is characteristic of Tonbridge and the spa town of Royal Tunbridge Wells in Kent in the Eighteenth and Nineteenth Centuries. The decoration typically consists of a mosaic of many very small pieces of different coloured woods that form a pictorial vignette or geometric patterns. Shaped rods and slivers of wood were first carefully glued together, then cut into many thin slices of identical pictorial veneer with a fine saw. Elaborately striped and feathered bandings for framing were pre-formed in a similar fashion. There is a collection of Tunbridge Ware in the Tunbridge Wells Museum and Art Gallery in Tunbridge Wells.
This year the FFF+ Group have decided to have a weekly challenge called “Snap Happy”. A different theme chosen by a member of the group each week, and the image is to be posted on the Monday of the week.
This week the theme, “geometry” was chosen by GG, Greenstone Girl.
This Tunbridge Ware hexagonal jewellery box with its geometric shape and geometric patterns seemed to fit the challenge quite nicely.
Geometry is the part of mathematics that studies the size, shapes, positions and dimensions of things. Squares, circles and triangles are some of the simplest shapes in flat geometry. Cubes, cylinders, cones and spheres are simple shapes in solid geometry.
This image looks at some attractive geometric detail on the front of a half-timbered cottage on Queen Mary's Drive, Port Sunlight. Each of Nos 16-22 was a four-bedroom residence. This detail on No. 22 is part of a bracket-supported double-jettied gable. The rather cobwebbed pegs visible on the black-painted wooden frames are part of the construction process. The buildings face the Lady Lever Art Gallery.
Designed by James Lomax-Simpson in 1912, and built the following year, it is one of the Domestic Revival (or Old English) designs found throughout the village for which he is best known. Educated at Liverpool University and the son of a friend of of William Lever, he became the head of Lever Brothers architecture department in 1910 and designed several buildings in Port Sunlight including the Bandstand (now demolished), the Residents' Club, the south wing of Lever House, the Duke of York Cottages and houses in Jubilee Crescent, King George's Drive and Windy Bank as well as those in Queen Mary's Drive.
He also designed factories built overseas for Lever Brothers and Unilever House in London (Unilever was created in 1929 when Lever Brothers merged with the Dutch company Margarine Union).
As Veida came through the door of her flat, she quickly closed it before turning on the standard lamp in the drawing room. "Punch" was full of cartoons lampooning the blackout, but she took even a chink of light very seriously, even in those early days of the war in that glorious 1939 September when everyone was adapting to the new government regulations. Her own light and airy Knightsbridge flat was now positively repressive with the addition of a thick blackout lining to the red shantung curtains. However, as an air raid warden, she had seen for herself what the enemy from across the Channel could do, as her beloved London was bombed night after night in what was now commonly known as "the Blitz". If the King and Queen could be bombed at Buckingham Palace, as they were the other night, Veida wasn’t going to leave anything to chance.
Veida turned the brown Bakelite lozenge knob of her wireless and waited for the valves to warm up. She removed the tin helmet emblazoned with ARP WARDEN in bold white printed letters from her head. Glancing critically at her shadowy reflection in the mirror over the fireplace she sighed wearily as she tugged at the waves in her pageboy bob that had been compressed by the uncomfortable headgear. “What a fright!” she tutted at her mirrored image. “Thank goodness you aren’t going dancing at the Embassy.” But there was no dancing for Veida now, not with Reggie away. It just didn’t seem right to go dancing with other airmen at a nightclub when your own fiancée was out there somewhere over Europe fighting for you. Primrose Chateris didn’t care, and told Veida so when she scolded her for dancing with a stranger in uniform last week. No; the beautiful sweeping silk and satin gowns Veida wore in 1938 were packed away until… until when? When Reggie returned? When the war ended? When life returned to its pre-war normality? Rubbing her temples, Veida silently wondered if life would ever return to normal. This war seemed to have turned the world she knew and everyone in it upside down.
A crackling broke into Veida’s thoughts as the wireless sputtered to life and she heard the last few notes of a piece of classical music played on a piano. The dial on her walnut wireless glowed happily in the warm lamplight and she heard the familiar male voice announce; “This is the BBC Home Service”.
“Thank goodness,” Veida said aloud to her empty flat. “At least some things can still be relied upon in this topsy turvey world!” And she kicked off her heavy work shoes covered in brick dust and soot and curled up on the couch to hear the latest news and forget about her aching head and weary bones for a little while.
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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.
The theme for "Smile on Saturday" on Saturday 2nd of May 2020 is "radio". This seemed a worthy entry.
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.
Kaleidoscope Wonders Coloring Art for Everyone, published by Leisure Art, Inc. www.leisurearts.com. Colored with Blick Artists’ Pencils and fine line Sharpie Pens. Highlighted with iridescent water color pains. Thanks for viewing. Your fav’s and comments are most appreciated.
These tiled façades in Lisbon’s Alfama district capture the enduring beauty of Portuguese azulejos, a ceramic tradition deeply woven into the city’s architectural identity. Dating back to the 16th century, azulejos reflect a blend of Moorish geometric influence and Renaissance ornamentation, later evolving into the baroque storytelling panels found throughout Portugal. Here, repeating starburst and floral motifs in shades of blue, green, and black cover the façades, contrasting elegantly with arched windows, wrought-iron balconies, and crisp stone frames. Beyond their decorative appeal, tiles served a functional purpose—cooling interiors and protecting walls from weather. Today, they remain an iconic symbol of Lisbon’s timeless charm.
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.
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.
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.
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:
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Art & Architecture Thesaurus terms:
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• geometric patterns (300165213)
• keys (hardware) (300033579)
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• Mid-Century Modernist (300343610)
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• pink (color) (300124707)
• siding (300014861)
• sunset (300343635)
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Wikidata items:
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• 1960 in architecture (Q2812256)
• 1960s in architecture (Q11185676)
• April 28 (Q2534)
• April 2018 (Q23994861)
• business failure (Q5001874)
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• Northwest Ohio (Q7060133)
• Ohio State Route 120 (Q2491917)
• Sears (Q6499202)
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• Treaty of Detroit (Q1639077)
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In this image, I wanted to capture that particular moment when the late afternoon light transforms an ordinary urban scene into a graphic tableau. The elongated shadows of the trees create dramatic lines on the ground, like a natural calligraphy. I waited for the light to be perfectly positioned so that the setting sun's rays would illuminate the building's facade, creating a striking contrast with the shadowed areas. The solitary silhouette on the right became a key element of the composition, as if absorbed by this theatrical end-of-day light. The black and white treatment emphasizes the drama of this transitory moment, as day gently fades away. This photograph captures that fragile instant when the city transforms, bathed in the last gleams of daylight, creating a contemplative atmosphere in the urban bustle.
Chiesa di San Carlo alle Quattro Fontane (1638-1640).
Architect: Francesco Borromini.
Via del Quirinale.
Rome, Lazio, Italy.
Nikon D800 | Nikkor AF-S 14-24 mm f/2.8G ED.
captured in the heart of paris, this image portrays a lone figure walking with quiet determination, as if moving between light and shadow. the architectural lines above stretch like a futuristic web, guiding the viewer's gaze directly to the man at the center. there's a sense of stillness and introspection in his steady steps, while the silhouettes in the background fade like distant memories, barely tangible. the black-and-white format emphasizes the geometry and rhythm of the lines, creating an atmosphere of detachment and contemplation. it's a silent, almost melancholic moment that reflects the pace of modern life, highlighting the contrast between the solitude of the individual and the busy world around him.
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.