View allAll Photos Tagged geometricpatterns
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.
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.
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
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.
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 wide, dramatic, and symmetrical shot capturing the immense architectural scale of the main hall's ceiling within the San Francisco Ferry Building. The composition looks directly up, centered on the long, glass-paneled skylight that runs the length of the building, providing bright, natural light. The vaulted ceiling is defined by a rhythmic series of arched, dark metal trusses and structural beams, contrasting sharply with the pale, warm-toned interior brick and stone walls. The windows high up on the side walls feature intricate, geometric latticework, characteristic of late 19th-century industrial architecture. This image perfectly highlights the blend of classical and industrial design that defines the historic landmark, emphasizing the cavernous space and the airy, light-filled atmosphere.
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.
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.
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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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.
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.
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.
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.
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.
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.
2011 - Bass wood and acrylic paint
Artist: Luis Tomasello, Argentina, born 1915
When Luis Tomasello changed from painting on flat surfaces to making reliefs, he said: "I discovered the wonderful world of light. The reflection of color on the surface fascinates me and that is what I've worked in from that time on."
Tomasello's Chromoplastic Mural consists of 672 white geometric forms (polyhedra) placed in a repetitive pattern to create a grid with equally proportioned spaces between the forms. The flourescent orange plane of each angled shape reflects off the surface of the white wall, producing a glowing atmosphere of colored light. Form and color are intimately interrelated and the artist's mural-like reliefs exist in the realm between painting and sculpture.
Tomasello is primarily associated with Kinetic art, a 1960s movement prevalent in Paris, especially connected to the Denise Rene Gallery. Kinetic art refers to work that moves or that gives the sensation of movement through its optical effects. It also depends on you, the spectator, to actively participate because as we move in relation to the overall work, the light, colors and surfaces appear to change dramatically. In 1965, Tomasello's work was included in an exhibition on Op art, or Optical art, which became well-known in New York through William Seitz's show, The Responsive Eye, at The Museum of Modern Art.
Tomasello currently lives and works in Paris, France. Edit: Mr. Tomasello passed away in January, 2014.
If you read this far, I didn't make all that up, it was on the plaque beside the mural. :)
The Burj Khalifa rises beyond the frame — a study in scale, symmetry, and repetition
Pano - created with multiple images.
The Fujairah Mosque, formally known as the Sheikh Zayed Mosque, is a major Islamic place of worship in the Emirate of Fujairah, United Arab Emirates. Completed in 2015, it is one of the largest mosques in the UAE and a landmark of Islamic architecture in the country’s eastern region.
Welcome to Kabukicho Ichiban-gai, the iconic gateway to Tokyo’s most vibrant entertainment district. This unmistakable red arch, adorned with retro-style neon lights and bold Japanese characters, serves as a cultural and architectural landmark. The bright red design juxtaposes modern Tokyo’s sleek, high-rise buildings and reflects Kabukicho’s lively energy as the “Sleepless Town.” The signage warns visitors that smoking on the street is prohibited, a nod to Tokyo's meticulous city planning and emphasis on urban cleanliness.
Originally developed after World War II, Kabukicho was named for a planned kabuki theater that was never built. However, its name lives on, and the area flourished into a hub of entertainment, blending traditional Japanese aesthetics with ultra-modern urban design. The Ichiban-gai entrance stands as a symbolic welcome to a world of eclectic adventures, from izakayas and karaoke to late-night ramen shops and vibrant nightlife.
Framing the entryway are modern glass-front buildings, such as the one on the left featuring geometric patterns, contrasting sharply with the bold, colorful advertising to the right. This architectural mix highlights the district’s adaptability, fusing cutting-edge design with the neon-drenched nostalgia of mid-20th-century Tokyo. The narrow streets beyond the arch hold endless treasures, including hidden alleyways brimming with culinary delights and niche bars.
Kabukicho Ichiban-gai is more than an entertainment district—it’s a testament to Tokyo’s ability to evolve while retaining its unique character. Whether you’re here for a night of exploration or simply soaking in the atmosphere, this dynamic entryway sets the tone for the unforgettable experiences that lie ahead.
Plate IV: Egyptian No. 1, The Lotus and the Papyrus, types of Egyptian ornament.
(1. The lotus drawn from nature. 2. Egyptian representation of the lotus. 3. Another in a different stage of growth. 4. Three papyrus plants, and three full-blown lotus flowers with two buds, held in the hand of a king as an offering to a God. 5. A full-blown lotus and two buds, bound together with ribbons, the type of the capitals of Egyptian columns. 6. The lotus and buds in the form of a column, bound round with matting, from a painting representing the portico of a temple. 7. The base of the stem of the papyrus drawn from nature; the type of the bases and shafts of Egyptian columns. 8. Expanding bud of the papyrus, drawn from nature. 9. Another, in a less advanced stage of growth. 10 Egyptian representation of the papyrus plant; the complete type of the capital, shaft, and base of the Egyptian column. 11. The same, in combination with lotus buds, grapes, and ivy. 12. A combination of the lotus and papyrus, representing a column bound with matting and ribbons. 13. Egyptian representation of the lotus and buds. 14. and 15. Representations of the papyrus, from an Egyptian painting. 16. Representation of plants growing in the desert. 17. Representation of the lotus and papyrus growing in the nile. 18. Another variety of desert plants.)
Owen Jones (British designer, 1809-1874)
1856 57 cm (page height) x 39 cm (page width)
From: Jones, Owen. The grammar of ornament ; Illustrated by examples from various styles of ornament. One hundred and twelve plates, Folio ed., London: B. Quaritch, 1910
See MCAD Library's catalog record for this book.
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Otto Friedrich Carl Lendecke (1886-1918) was an Austrian painter, sculptor and illustrator of the impressionist and modern art era. He served as a soldier in the Austrian army in World War I until 1909, and debuted as a sculptor in 1911. He drew fashion illustrations for journals such as Jugend, Meggendorfer Blätter, and Licht und Schatten. He also made watercolors and linocuts for Viennese Fashion, and was accepted into the artistic advisory board of the magazine. We have digitally enhanced his fashion illustrations, and they are available to download for free under the CC0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1325425/otto-friedrich-carl-lendecke-fashion-costume-designs-public-domain-graphics?sort=curated&mode=shop&page=1
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.
Nestled in the vibrant heart of Osaka, the Daimaru Shinsaibashi Building stands as a testament to the city's rich architectural heritage. This iconic structure, completed in 1933, is a stunning example of Art Deco design, characterized by its bold geometric patterns, lavish ornamentation, and a sense of modernity that was ahead of its time. As you approach the building, the first thing that catches your eye is the magnificent entrance. The facade is adorned with intricate stone carvings, including elegant motifs and geometric designs that reflect the meticulous craftsmanship of the era. The entrance itself is a masterpiece, featuring a series of stained glass panels in warm hues of yellow and orange, arranged in a repetitive star pattern. These panels not only add a touch of color but also create a welcoming glow that beckons visitors inside. The ornate metalwork on the doors and surrounding areas further enhances the building's grandeur, showcasing the attention to detail that went into its construction. Inside, the Daimaru Shinsaibashi Building continues to impress with its opulent interiors, including a grand lobby with a stunning mural depicting the history of transportation. This building is not just an architectural gem; it also holds historical significance as a cultural and social landmark in Osaka. Whether you're an architecture enthusiast, a history buff, or simply someone who appreciates beauty, the Daimaru Shinsaibashi Building is a must-visit landmark that embodies the spirit of Osaka's architectural innovation and cultural heritage.
Pl. VIII: Egyptian No. 5 (The whole of the ornaments on this plate are from mummy-cases in the British Museum and the Louvre, and like those of the last plate are mostly composed of the lotus-flower and single leaves of the same plant. In number 2, above the lotus-leaves, is a white ornament on a black ground, very common in the tombs, suggested by the interwoven strands of a rope; and no. 7 we have the chequered pattern, one of the earliest ornaments, evidently derived from the weaving together of different-coloured strands. In the lower part of no. 18 we have another very common ornament, derived from feathers.)
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.
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.
On a quiet Chinatown block, this mural turns a plain façade into a layered conversation about labor, belief, and forward motion. The composition unfolds horizontally, anchored by two figures who never quite meet: one bent inward, absorbed in a phone, the other reaching outward, arm extended toward something just beyond the frame. Between them, geometry, pattern, and maritime imagery collide, stitched together by color and line rather than narrative clarity.
What makes the scene distinctly San Francisco is its restraint. The palette stays cool and coastal—blue-grays, teals, and muted reds—allowing the wall to sit comfortably within the street rather than shouting over it. Even the bold typography of “OPTIMISM” feels weathered and earned, less slogan than artifact. The mural doesn’t erase the building beneath it; windows, trim, and surface texture remain visible, reminding you this is a working street, not an outdoor gallery.
There’s a quiet tension here between movement and stillness. The figures suggest action, yet the street is empty, the sidewalk bare. That pause gives the work space to breathe and lets the viewer read it slowly, the way San Francisco often asks you to—through fragments, overlaps, and contradictions. It’s public art that rewards proximity without demanding attention.
Photographed straight-on, the mural becomes a flat plane of ideas held in balance by the city itself. It’s not decorative; it’s situational. Another example of how San Francisco’s street art works best when it feels inseparable from the block it inhabits.
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.