View allAll Photos Tagged geometricpatterns
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 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.
photo rights reserved by Ben
North Macedonia has a rich Islamic heritage, visible in its Ottoman mosques with slender minarets, elegant courtyards, colorful ceiling decorations, and historic hammams (bathhouses). The lavishly painted domes and walls — such as those of the Painted Mosque in Tetovo — rank among the most remarkable religious interiors in the Balkans. About one third of the population is Muslim. Islam arrived in the region during the Ottoman period (14th–20th century) and has had a lasting cultural and religious influence ever since. In cities like Skopje and Tetovo, mosques and churches often stand within short distance of one another — a reflection of the country’s religious diversity. What stands out is the harmony between architecture and landscape: domes set against mountain backdrops, light-filled courtyards, and vibrant geometric and floral patterns. This shows how Islam in North Macedonia is not only a religion, but also an important part of the country’s historical and cultural identity. North Macedonia is therefore a place where Orthodox churches and mosques together shape the landscape and skyline — a typically Balkan interplay of traditions.
1. The painted heart of the Šarena Džamija, 2. Šarena Džamija — the Painted Mosque of Tetovo, 3. Between lion, family and Ottoman domes, 4. The stone mausoleum of the Šarena Džamija, 5. Gate to Skopje’s past, 6. Inside a quiet Mausoleum of stone, 7. The ornate entrance of the Painted Mosque, 8. Ornamented walls and balanced space inside the Painted Mosque, 9. The architectural harmony of the Šarena Džamija, 10. Autumn light over Popova Šapka in the Šar mountains , 11. The Painted Mosque in Tetovo, 12. A good deal at the Old Bazaar in Skopje, 13. Bazaar Life in Skopje beneath the Minaret.
Noord-Macedonië heeft een rijke islamitische erfenis, zichtbaar in Ottomaanse moskeeën met slanke minaretten, sierlijke binnenplaatsen, kleurrijke plafonddecoraties en historische hamams (badhuizen). Vooral de uitbundig beschilderde koepels en muren – zoals bij de Painted Mosque in Tetovo – behoren tot de meest bijzondere religieuze interieurs op de Balkan. Ongeveer een derde van de bevolking is moslim. De islam bereikte de regio tijdens de Ottomaanse periode (14e–20e eeuw) en heeft sindsdien een blijvende culturele en religieuze invloed gehad. In steden als Skopje en Tetovo staan moskee en kerk vaak op korte afstand van elkaar — een weerspiegeling van de religieuze diversiteit van het land. Opvallend is de harmonie tussen architectuur en omgeving: koepels tegen berglandschappen, binnenplaatsen vol licht en geometrische en florale patronen in levendige kleuren. Het laat zien hoe de islam in Noord-Macedonië niet alleen een geloof is, maar ook een belangrijk onderdeel van de historische en culturele identiteit van het land. Noord-Macedonië is daarmee een plek waar orthodoxe kerken en moskeeën samen het landschap en de skyline vormen — een typisch Balkans samenspel van tradities.
Created with fd's Flickr Toys. ....don't forget to zoom in photo!!
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.
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.
A momentary alignment in the heart of Ludlow. I love the contrast between the rigid, geometric lines of the historic timber-framed buildings and the soft, craters of the moon hanging in a clear Shropshire sky.
Using a longer focal length allowed me to pull the moon closer to the architecture, emphasizing the height and heritage of the town.
A frozen soap bubble shot on a very cold night in January. Adding sugar and corn syrup to the bubble mixture creates the crystallization as the bubble freezes.
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.
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.
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.
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.
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.
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.
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.
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.
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.”
O Claustro Pequeno, núcleo mais antigo do Convento da Madre de Deus, atual Museu Nacional do Azulejo, em Lisboa, exibe uma rica combinação de estilos arquitetónicos, do gótico tardio ao Renascimento. Fundado em 1509 pela Rainha D. Leonor, o claustro apresenta paredes revestidas a azulejos, destacando-se o padrão geométrico "ponta de diamante", em relevo, característico da azulejaria maneirista dos finais do século XVI, com influências sevilhanas e produção em Lisboa. Integra ainda um lavabo ou fonte em pedra, elemento comum nos claustros conventuais. Ao longo dos séculos, o complexo sofreu alterações, nomeadamente sob o reinado de D. João III e após o terramoto de 1755, acumulando traços manuelinos e barrocos. O piso superior apresenta uma galeria de arcadas em pedra calcária, assentes em colunas com capitéis coríntios, com painéis de azulejos hispano-mouriscos em padrão geométrico azul e amarelo. O espaço serve como um testemunho vivo da evolução da azulejaria em Portugal.
The Small Cloister, the oldest part of the Madre de Deus Convent, now the National Tile Museum in Lisbon, displays a rich combination of architectural styles, from late Gothic to Renaissance. Founded in 1509 by Queen Leonor, the cloister has walls covered with tiles, featuring the geometric “diamond point” pattern in relief, characteristic of Mannerist tile work from the late 16th century, with Sevillian influences and production in Lisbon. It also includes a stone washbasin or fountain, a common feature in convent cloisters. Over the centuries, the complex underwent changes, particularly during the reign of King João III and after the 1755 earthquake, accumulating Manueline and Baroque features. The upper floor features a gallery of limestone arcades, resting on columns with Corinthian capitals, with panels of Hispano-Moorish tiles in a blue and yellow geometric pattern. The space serves as a living testimony to the evolution of tile work in Portugal.
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.
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.
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.
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
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.
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.
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.