View allAll Photos Tagged geometricpatterns
Focus stacking and monochrome toning transform a succulent bud into an abstract creature of light, shadow, and teeth.
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]
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.
The fractal elegance of an agave, frozen in time—a testament to the mathematical beauty found in nature’s design.
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.
An abstract close-up of warm orange vertical stripes, with soft shadows between each band. The repeating lines create a rhythm that fills the whole frame, and the color glows from edge to edge. It's all pattern and light, with no horizon.
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.
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).
This intricate pavement design at the Montreal Botanical Garden's Chinese Garden showcases a harmonious blend of textures and shapes. Alternating triangular sections of weathered red bricks and hexagonal clusters of smooth, dark river pebbles create a rhythmic geometric mosaic, partially shaded by overhead foliage.
John and Donald Parkinson's 1929 Bullocks Wilshire is the building that taught Los Angeles what Art Deco could be, and this side entrance is a quiet master class in why texture carries the style. The cast stone facade — a buff-toned terrazzo aggregate that imitates limestone but reads warmer in the late afternoon sun — is scored into massive ashlar blocks that frame the entry like a temple pylon. The black granite base grounds it. Everything else is surface incident.
The portal itself is where the building shows its hand. A coffered ceiling in green, terra cotta, and gold radiates a stylized sunburst — Mayan Revival by way of Hollywood, executed in painted plaster and meant to be read from a moving Packard, not a parked Tesla. The pendant lantern, copper gone soft with patina, hangs in front of a copper-framed transom that catches reflected sky and the silhouette of a streetlamp opposite. Flanking the door, two vertical bands of carved cast stone medallions — heraldic shields, geometric rosettes, stepped pyramidal motifs — give the eye somewhere to travel from foot to lintel.
The cracked sidewalk reads as an honest part of the picture. The building was decommissioned as a department store in 1993; Southwestern Law School has occupied it since. Decades of survival, etched in concrete.
A mirrored art installation at the Palm Springs Art Museum becomes an abstract world of repeating reflections. By converting the image to monochrome and removing the surrounding distractions, only the exhibit’s hidden infinity pattern remains
Reflections, lines, geometric shapes and patterns in the facades at 6th Ave and 43rd Street, NYC
[GX85-1080037 PScc]
These appear to be land snail shells, most likely tropical arboreal snails in the family Camaenidae or a closely related group. The bold brown-and-black striped pattern and flattened, rounded form are characteristic of several Southeast Asian and Pacific land snails.
The large shell at lower left shows a highly nacreous (mother-of-pearl) interior, indicating the shell is empty and photographed from the underside.
Because the aperture and side profile are not fully visible, a species-level identification is not possible from this image alone.
Confidence: Moderate (family/group level), low for exact species.
⸻
Description
* Shape: Depressed-globose to discoidal spiral shells
* Color: Rich chestnut brown with dark zebra-like striping
* Surface: Smooth, glossy, highly polished appearance
* Pattern: Bands follow the spiral growth lines, creating optical movement around the whorls
* Whorls: Well-defined and tightly coiled
* Interior: Iridescent nacre visible in the overturned shell
The image presents five shells arranged against a light background, emphasizing variations in size, pattern density, and spiral geometry.
⸻
Natural History
Land snails of this type typically:
* Live in humid forests and woodland habitats
* Feed on decaying vegetation, algae, fungi, and plant material
* Are most active during wet conditions
* Produce shells primarily from calcium carbonate
* Display remarkable variation in shell color and banding even within a species
The striped pattern may help break up the shell’s outline among leaf litter, bark, and forest debris.
⸻
Discussion as Art
This image functions almost as a study of spiral mathematics and natural design.
Notable visual elements:
* Repetition of the logarithmic spiral at multiple scales
* Strong contrast between warm browns and the cool white background
* Rhythmic striping that creates a sense of motion
* The iridescent shell introduces a contrasting visual texture
* The arrangement resembles objects floating in space rather than resting on a surface
The photograph explores themes of:
* Growth
* Recursion
* Pattern formation
* Natural geometry
* Variation within repetition
The eye moves naturally from shell to shell, comparing the unique striping while recognizing the shared spiral structure.
Captured by drone over Jarlsø in Tønsberg, this modern waterfront high-rise catches the last warm sunlight of the day while the surrounding fjord remains calm and cold. The still water turns the building into a near-perfect mirror, adding a quiet symmetry to the coastal landscape where urban development meets the Oslofjord shoreline.
Fun fact: Jarlsø was historically an island with industrial activity, but in recent decades it has been transformed into a residential waterfront area connected to the mainland by fill and bridges.
"Do you think Jaison is cute?"
--"Yes Jaison is dreamy. Jaison's tittle is huuuge omg. I am getting hungry for fried eggs."
-----------------------
In downtown McKeesport, Pennsylvania, on July 1st, 2019, a building at the northeast corner of 5th Avenue and Blackberry Street.
Jaison's was a regional department store chain that was bought out by Charming Shoppes, Inc., the owner of Fashion Bug, in 1983.
-----------------------
Getty Thesaurus of Geographic Names terms:
• Allegheny (county) (7013272)
• McKeesport (2090470)
Art & Architecture Thesaurus terms:
• abandoned buildings (300008055)
• department stores (300005344)
• façades (300002526)
• geometric patterns (300165213)
• handwriting (300252927)
• Mid-Century Modernist (300343610)
• orange yellow (300128002)
• personal names (300266386)
• shop signs (300211862)
• storefronts (300002533)
• tile (material) (300010676)
• white (color) (300129784)
Wikidata items:
• 1 July 2019 (Q57350260)
• Charming Shoppes (Q5086513)
• Jaison (Q6124288)
• July 1 (Q2700)
• July 2019 (Q47087600)
• Pittsburgh metropolitan area (Q7199458)
• Rust Belt (Q781973)
• tittle (Q13586558)
• Treaty of Fort Stanwix (Q246501)
• vacant building (Q56056305)
• Western Pennsylvania (Q7988152)
Library of Congress Subject Headings:
• Buildings—Pennsylvania (sh85017803)
• Business names (sh85018315)
• Geometry in architecture (sh00000156)
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.
Large organ pipes rise like warm metallic columns, while smaller ranks recede into shadow behind them at the Spreckels Organ Pavilion in Balboa Park.
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.
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.
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
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!!
A fachada apresentada pertence ao Real Monasterio de Santa Clara de Tordesillas, fundado em 1363 pela infanta D. Beatriz, filha do rei Pedro I de Castela, que ali instituiu um convento de clarissas. O edifício foi originalmente construído como palácio régio desenvolvido nas épocas de Afonso XI e Pedro I de Castela, sobre estruturas anteriores de origem islâmica, o que explica a marcante presença de elementos mudéjares na sua arquitetura. A janela geminada exibe arcos polilobulados característicos da arte islâmica peninsular, enquadrados por uma elaborada composição de sebka — padrão geométrico de losangos entrelaçados típico da arquitetura almóada. O alfiz que emoldura o conjunto e a banda epigráfica inferior, possivelmente com inscrições em árabe ou pseudo-árabe, reforçam a herança andaluza. A porta de madeira com cravos metálicos segue a tradição construtiva ibérica medieval. Este sincretismo artístico inscreve-se no fenómeno mudéjar, um estilo exclusivamente ibérico que combina formas cristãs com técnicas e motivos islâmicos, desenvolvido graças ao trabalho de artesãos muçulmanos ao serviço de mecenas cristãos, e exemplificado por vários conjuntos de arquitetura mudéjar inscritos na lista do Património Mundial da UNESCO.
The façade shown belongs to the Royal Monastery of Santa Clara de Tordesillas, founded in 1363 by Infanta Beatriz, daughter of King Pedro I of Castile, who established a convent of Poor Clares there. The building was originally constructed as a royal palace during the reigns of Alfonso XI and Pedro I of Castile, on top of earlier structures of Islamic origin, which explains the striking presence of Mudejar elements in its architecture. The mullioned window features poly-lobed arches characteristic of peninsular Islamic art, framed by an elaborate sebka composition—a geometric pattern of interlaced lozenges typical of Almohad architecture. The alfiz framing the ensemble and the lower epigraphic band, possibly with inscriptions in Arabic or pseudo-Arabic, reinforce the Andalusian heritage. The wooden door with metal nails follows the medieval Iberian building tradition. This artistic syncretism is part of the Mudejar phenomenon, an exclusively Iberian style that combines Christian forms with Islamic techniques and motifs, developed thanks to the work of Muslim craftsmen in the service of Christian patrons, and exemplified by several examples of Mudejar architecture included in the UNESCO World Heritage List.
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.
Locals have called it "Our Lady of Maytag" since it opened in 1971, and from the plaza on Cathedral Hill you can see why: four swooping hyperbolic paraboloid shells twist upward like a washing machine agitator. Inside, that joke disappears. Pier Luigi Nervi, working with Pietro Belluschi, turned the underside of those shells into a field of precast triangular coffers that tighten and shrink as they climb toward the peak, and this frame reads the whole structure as one continuous rhythm.
Looking straight up and locking everything on the center line gives the cathedral a symmetry that's almost too perfect, and the image leans into it. The narrow bands of Gyorgy Kepes stained glass run along the ridges and meet at the top, forming the cross that's the building's real subject. Where they cross, the light blows out into a starburst, which pulls the eye up and then lets it fall down the glass strip into Richard Lippold's baldachin, a shower of thin aluminum rods hanging over the altar.
At the bottom edge, a heavy concrete triangle cuts across the frame, with warm wood and a small slot of saturated glass glowing beneath it. It's a quiet reminder that the weight is still down here, even when everything above says otherwise.
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.
Mísula decorativa localizada no Claustro Pequeno do Convento da Madre de Deus, atualmente integrado no Museu Nacional do Azulejo, em Lisboa. Este elemento arquitetónico, esculpido em pedra, evidencia a influência do estilo manuelino, característico do início do século XVI em Portugal, reconhecível pelos motivos vegetalistas e naturalistas, como folhas entrelaçadas, que remetem à exaltação da natureza e à riqueza simbólica da época. A mísula serve de suporte estrutural e decorativo, integrando-se harmoniosamente na abóbada de nervuras e dialogando com o revestimento de azulejos policromados do pavimento, típico da azulejaria portuguesa. O Claustro Pequeno constitui o núcleo mais antigo do convento, fundado em 1509 por D. Leonor, rainha de Portugal, e reflete a transição entre o gótico tardio e o renascimento, testemunhando a importância do convento enquanto espaço religioso e artístico. A preservação destes detalhes permite compreender a evolução da arte e arquitetura conventual em Portugal.
Decorative corbel located in the Small Cloister of the Convent of Madre de Deus, currently part of the National Tile Museum in Lisbon. This architectural element, carved in stone, shows the influence of the Manueline style, characteristic of the early 16th century in Portugal, recognizable by its plant and naturalistic motifs, such as intertwined leaves, which refer to the exaltation of nature and the symbolic richness of the period. The corbel serves as a structural and decorative support, blending harmoniously into the ribbed vault and dialoguing with the polychrome tile covering of the floor, typical of Portuguese tile work. The Small Cloister is the oldest part of the convent, founded in 1509 by D. Leonor, Queen of Portugal, and reflects the transition between the late Gothic and Renaissance periods, testifying to the importance of the convent as a religious and artistic space. The preservation of these details allows us to understand the evolution of convent art and architecture in Portugal.
Standing at the base of this cooling tower, I wanted to capture how the concrete structure creates a mesmerizing spiral toward the sky. The natural lighting through the central opening adds drama, while the concentric patterns draw viewers into a geometric journey upward.
Lisbon’s Santa Justa Lift isn’t just a way to get from A to B—it’s a masterpiece of ironwork and history. Built in 1902, this neo-Gothic beauty connects downtown Baixa to the higher streets of Bairro Alto, offering stunning city views at the top. Inspired by Eiffel’s engineering, it’s one of Lisbon’s most iconic structures.
While exploring nearby, I focused on the interplay of shadows, lines, and shapes rather than the landmark itself. The harsh light, corrugated textures, and the lone passerby gave this scene an almost cinematic feel—minimal yet full of movement.
Holy hell, this black-and-white shot of Naniboujou Lodge's dining room is a savage gut-punch. What was once a screaming psychedelic riot—Cree murals exploding in reds, blues, yellows, greens like a bad acid trip in the North Woods—has been bled dry into grayscale madness.
The color's gone, ripped out like ether from the veins, leaving raw textures and patterns that knife through the shadows: vaulted ceiling zigzags, stone fireplace looming like a pagan altar, bentwood chairs waiting like conspirators. No more rainbow frenzy; just stark, elegant brutality—timeless, vicious, pulling you into the void where form and shadow bite harder than any hue ever could.
Damn if it isn't beautiful in its stripped-down fury.