View allAll Photos Tagged geometricpatterns
Stepping into the Tower Suite feels like walking into a beautifully decorated jewelry box. The room has this wonderful balance of grand architectural details and warm, intimate scale. The painted plaster ceiling is a knockout—intricate geometric patterns in white and soft green that give the room a real sense of height and elegance. And the bay window behind the tree is absolutely stunning, with its leaded panes and those beautiful heraldic shields painted right into the glass, letting in soft, diffused daylight that fills the whole space.
The Christmas tree is the undeniable centerpiece, of course. It's tall and perfectly shaped, strung with warm, golden fairy lights and dotted with bright red baubles and ribbon. The presents stacked at the base add a nice, cozy touch, making the whole corner feel lived-in and welcoming.
But what really anchors this room are the two golden sculptures flanking the space. On the left, you've got a majestic Lion, and on the right, a proud Unicorn—classic heraldic beasts that watch over the room like silent guardians. They sit atop heavy, carved wooden pedestals that match the dark wainscoting wrapping around the lower half of the walls. And then there's that brilliant, magenta-toned carpet. It's a bold, unexpected choice that brings a huge burst of warmth and color into the room, tying all the festive reds and greens together. It's a wonderful, proud corner of your family home, and it looks absolutely ready for the holidays.
See how the oriel windows have sheet metal panels with embossed images of torches and festoons.
The frieze of brickwork beneath the cornice displays a "diaper pattern," ugh. Everybody should have stopped using "diaper" in decoration contexts as soon as the word acquired its associations with poop and pee. Shame on English speakers, for having allowed a "diaper" homonymy to develop.
I happily truncate steeples anytime I can.
I think some kind of sculptural metal ornament ought to be hung upon the plain expanse of bricks at the center of the building.
I see you admiring that Honda Accord from model years 1997-2000. Its color is "Heather Mist Metallic."
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In downtown Racine, Wisconsin, on April 25th, 2021, the former Frank Lintner Building (built 1903) on the east side of Wisconsin Avenue, north of 7th Street, a "contributing property" in the Historic Sixth Street Historic District, 88000263 on the National Register of Historic Places.
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Getty Thesaurus of Geographic Names terms:
• Racine (7014308)
• Racine (county) (1002815)
Art & Architecture Thesaurus terms:
• apartments (300004063)
• architectural metalwork (300411548)
• architectural ornament (300378995)
• brick (clay material) (300010463)
• brickwork (works by material) (300015333)
• cafés (restaurants) (300005176)
• commercial buildings (300005147)
• corbels (300003610)
• cornices (300001788)
• diaper patterns (300010144)
• embossed works (visual works) (300389856)
• festoon (motif) (300167386)
• friezes (300123582)
• geometric patterns (300165213)
• historic buildings (300008063)
• historic districts (300000737)
• lampposts (300101536)
• light brown (300127503)
• mixed use (300112289)
• Neoclassical (300021477)
• olive green (300129180)
• oriel windows (300002954)
• pale yellow (300127919)
• sedans (300227972)
• sheet metal (300223016)
• show-windows (300002970)
• storefronts (300002533)
• three-story (300163795)
• torches (lighting devices) (300037652)
Wikidata items:
• 25 April 2021 (Q69306031)
• 1900s in architecture (Q16482507)
• 1903 in architecture (Q2744826)
• 1990s in transport (Q81720241)
• April 25 (Q2531)
• April 2021 (Q61313052)
• contributing property (Q76321820)
• Historic Sixth Street Business District (Q16976410)
• Honda Accord (Q463632)
• Milwaukee-Racine-Waukesha, WI Combined Statistical Area (Q110495108)
• National Register of Historic Places (Q3719)
• neoclassical architecture (Q54111)
• parallel parking (Q527129)
• Treaty of Chicago (1833) (Q87256769)
Library of Congress Subject Headings:
• Dwellings—Wisconsin (sh85040266)
• Grids (Crisscross patterns) (sh2006005408)
• Sheet-metal work (sh85121251)
• Torches in art (sh2005002495)
In downtown Akron, Ohio, on March 13th, 2021, Three Cascade Plaza (built in 1969, designed by Harrison & Abramovitz) at the southeast corner of Quaker and Ash Street, as viewed from West Bowery Street and Quaker Street.
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Getty Thesaurus of Geographic Names terms:
• Akron (7013265)
• Summit (county) (1002928)
Art & Architecture Thesaurus terms:
• central business districts (300000868)
• cirrus clouds (300404146)
• concrete (300010737)
• geometric patterns (300165213)
• light gray (300130813)
• Mid-Century Modernist (300343610)
• office buildings (300007043)
• traffic signals (300003915)
• trees (300132410)
• windows (300002944)
• winter (300133101)
Wikidata items:
• 13 March 2021 (Q69305987)
• 1960s in architecture (Q11185676)
• 1969 in architecture (Q2812513)
• Akron-Canton (Q4701657)
• Cascade Plaza (Q16890114)
• March 13 (Q2400)
• March 2021 (Q61312973)
• Northeast Ohio (Q7057945)
• ornamental tree (Q33249028)
• Treaty of Greenville (Q767317)
Library of Congress Subject Headings:
• Geometry in architecture (sh00000156)
• Office buildings—Ohio (sh99002598)
• Trees in cities (sh85137261)
Union List of Artist Names IDs:
• Harrison and Abramovitz (American architectural firm, 1945-1976) (500213294)
Collection: A. D. White Architectural Photographs, Cornell University Library
Accession Number: 15/5/3090.01501
Title: Cairo. Egyptian Home (Interior, Staircase)
Photograph date: ca. 1865-ca. 1889
Location: Africa: Egypt; Cairo
Materials: albumen print
Image: 16.4173 x 11.1417 in.; 41.7 x 28.3 cm
Style: Modern Egyptian
Provenance: Gift of Andrew Dickson White
Persistent URI: http://hdl.handle.net/1813.001/5tqj
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
We had some help with the geocoding from Web Services by Yahoo!
Collection: Cornell University Collection of Political Americana, Cornell University Library
Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University
Title: 1872 National Democratic Convention Admission Ticket
Political Party: Democratic
Election Year: 1872
Date Made: 1872
Measurement: Ticket: 2 3/4 x 4 1/4 in.; 6.985 x 10.795 cm
Classification: Ephemera
Persistent URI: http://hdl.handle.net/1813.001/619j
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
At Hearst Castle, history and artistry meet craftsmanship in the ongoing restoration of its magnificent ceilings, such as the one featured here. This intricately carved coffered ceiling combines geometric patterns and floral motifs, drawing inspiration from Moorish and Renaissance designs. Rich in detail, the deep red and gold hues speak to its opulent origins, while the restoration work breathes new life into this historic masterpiece. Each starburst and floral pattern is delicately sculpted, reflecting the grandeur that William Randolph Hearst envisioned for his legendary estate.
The ceiling's restoration showcases the careful preservation of Hearst Castle’s architectural heritage. Expert artisans work to retain the original texture and style, ensuring that future visitors will continue to be captivated by its historic charm. These ceilings are emblematic of Hearst’s love for European art and culture, and the restoration efforts highlight the estate’s commitment to preserving this artistic legacy.
Visitors to Hearst Castle are offered a rare glimpse into the painstaking process of historic restoration, with an emphasis on maintaining authenticity. This ceiling, like many others throughout the estate, serves as a symbol of Hearst's passion for design and history. With each visit, one can appreciate the careful attention to detail and dedication that has gone into keeping these ceilings timeless, ensuring they remain a highlight of any tour.
Description:
Plate XXV: Pompeian No. 3 (Collection of mosaics from Pompeii and the Museum at Naples. - From the author's sketches.)
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.
Style period: Islamic, Spain (Nasrid period)
Title/Subject: Alhambra: Mexuar (Concil Chamber)
View: interior, detail view of décor showing calligraphic stucco work and glazed ceramic tile mosaic in geometric patterns
Date: 14th century CE
Classification: Architecture; mosaic
Work type: buildings, houses, official residences, palaces; building divisions, interior spaces, halls
Location: Granada, Andalusia, Spain
Image_Filename: ISP011
original photograph by Allan T. Kohl
Rights: Creative Commons (Use with attribution)
Mural entitled "Visionary Reality Threshold" by Saya Woolfark aka @sayawoolfalkstudio seen at 1005 Walnut Street in Cincinnati, Ohio.
Drone photo by James aka @urbanmuralhunter on that other photo site.
Edit by Teee.
Starting with lightly hammered sterling hoops, I added a beaded pattern around the edge using tiny seed beads and nymo thread. I chose a muted palette of earthy tones.
Styles and Attitudes ......
Some GEOMETRIC Patterns in Fashion
#pfw16 # #paris #fashion #trend #geometricpatterns #geometry #streetstyleparis #streetstyle #mode #skirts #navystyle #colors #beauties #stylishpeople #
Collection: A. D. White Architectural Photographs, Cornell University Library
Accession Number: 15/5/3090.01500
Title: Egypt. Group of Minarets
Photographer: J. Pascal Sébah (Turkish, active 1860-1880)
Photograph date: ca. 1865-ca. 1889
Location: Africa: Egypt
Materials: albumen print
Image: 14.1732 x 10.5906 in.; 36 x 26.9 cm
Style: Mamluk
Provenance: Gift of Andrew Dickson White
Persistent URI: http://hdl.handle.net/1813.001/5tqh
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
We had some help with the geocoding from Web Services by Yahoo!
Geometric pattern of the famous glazed bricks friezes found in the apadana (Darius the Great's palace) in Susa (Shush) by french archeologist Marcel Dieulafoy and brought in Paris. Such polychromic friezes used to decorate the walls of the Achaemenian king's palaces in their capitales of Shush, Ecbatan, and Persepolis.
Pavillon Sully at the Louvre museum, Paris, France, March 2010
Motifs géométriques décorant les fameuses frises de céramique en briques cuites à glaçures trouvées dans le tell de l’Apadana (palais de Darius le Grand) à Suse (Shush) par l’archéologue français marcel Dieulafoy et ramenées à Paris. De telles frises polychromiques décoraient les façades des palais royaux achéménides dans leurs capitales d’Ecbatane, Suse et Persépolis.
Pavillon Sully, musée du Louvre, Paris, France, Mars 2010
Afternoon light and repeating arches inside Sheikh Zayed Mosque - Fujairah - a study in symmetry, stone, and stillness.
Colorful diamond shapes embroidered on taupe linen make a colorful statement.
I embroidered rows of colorful diamond shapes on linen, and mounted the embroidery on a brass circle to give the pendant weight so it would hand nicely from a chain. I backed the embroidery with soft purple ultra suede, and created a beaded bezel around the embroidery to frame the pendant using tiny metallic bronze seed beads. The pendant hangs from a brass chain with teal beaded accents at the ends. The chain is threaded through an ultra suede loop on the back of the pendant and the closure is a brass lobster claw clasp.
Dimensions: The pendant is 1.625 inches in diameter. The chain measures 18 inches overall, including the clasp.
Styles and Attitudes ......
Some GEOMETRIC Patterns in Fashion
La luminosa GIOVANNA BATTAGLIA
#pfw16 # #paris #giovannaBattaglia #fashion #trend #geometricpatterns #geometry #streetstyleparis #streetstyle #mode #skirts #navystyle #colors #beauties #stylishpeople #
Styles & attitudes ...
Some glittering pieces of trend
Miss ZENDAYA COLEMAN
#pfw16 # #paris #zenayacolemen #glitter #brillant #metaliccolors #strasses #fashion #trend #geometricpatterns #geometry #streetstyleparis #streetstyle #mode #skirts #navystyle #colors #beauties #stylishpeople #
Collection: Cornell University Collection of Political Americana, Cornell University Library
Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University
Title: Theodore Roosevelt "Progressive Battle Flag" Portrait Textile, 1912
Political Party: Progressive
Election Year: 1912
Date Made: 1912
Measurement: Handkerchief: 22 x 24 in.; 55.88 x 60.96 cm
Classification: Textiles
Persistent URI: http://hdl.handle.net/1813.001/6017
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
Observation point of Ismail I.
Royal Chamber.
Palacio del Generalife (1302-1324).
Granada, Andalucía, Spain.
Plate XXXIX: Moresque (Moorish) No. 1, Moresque ornament from the Alhambra, varieties of interlaced ornaments. (1-5, 16, 18 are borders on mosaic dados. 6-12,14. Plaster ornaments, used as upright and horizontal bands enclosing panels on the walls. 13,15. Square stops in the bands of the inscriptions. 17. Painted ornament from the Great Arch in the Hall of the Boat.)
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.
Plate XXXIV: Arabian No. 4 (Portion of an illuminated copy of the "Koran". These designs were traced from a splendid copy of the Koran in the Mosque El Barkookeyeh, founded A.D. 1384)
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.
A black and white capture of the intricate interplay between multiple high-rise buildings in an urban setting located in the Calle 50 at Panama City. The image emphasizes the contrasting architectural styles, from the reflective surfaces to the geometric patterns, all converging under the city's glowing lights.
Palmettes and geometric pattern of the famous glazed bricks friezes found in the apadana (Darius the Great's palace) in Susa (Shush) by french archeologist Marcel Dieulafoy and brought in Paris. Such polychromic friezes used to decorate the walls of the Achaemenian king's palaces in their capitales of Shush, Ecbatan, and Persepolis.
Pavillon Sully at the Louvre museum, Paris, France, March 2010
Palmettes et motifs géométriques décorant les fameuses frises de céramique en briques cuites à glaçures trouvées dans le tell de l’Apadana (palais de Darius le Grand) à Suse (Shush) par l’archéologue français marcel Dieulafoy et ramenées à Paris. De telles frises polychromiques décoraient les façades des palais royaux achéménides dans leurs capitales d’Ecbatane, Suse et Persépolis.
Pavillon Sully, musée du Louvre, Paris, France, Mars 2010
A second encounter with Mark Harris along 3rd Street, and the contrast with the Aya box couldn't be more instructive. Where that piece was frontal, stark, and symbol-specific, this one is all-over pattern — a dense maze of interlocking geometric lines in burnt orange and deep brown that covers the cabinet face edge to edge, top to bottom, refusing any hierarchy of focal point. The eye enters and circulates, which is precisely the point. The labyrinthine motif draws on a visual tradition shared across multiple African textile and architectural traditions — kente, kuba cloth, mudcloth — without being literally any of them. Harris is working in a synthetic, contemporary vernacular rooted in diaspora memory. The golden-hour light is doing real work here. Shot at dusk with warm ambient sky behind the treeline, the orange paint seems internally lit, almost luminous — a chromatic accident of timing that no studio setup could manufacture. The shallow residential streetscape behind — parked cars, mature trees, scattered leaves on gravel — grounds this in an unambiguously neighborhood context. This isn't gallery art installed in public space; it's public art that belongs to the block. Harris's signature sits quietly at the top edge, claiming authorship without competing with the pattern below it.
Every time you look up in this house, there's a surprise waiting for you. This ceiling is completely different from anything else we've seen—vibrant, bold, and unapologetically colorful. The deep turquoise-blue background is split into sweeping, cream-colored borders that curve and intersect like the ribs of a grand tent. And right in the center of those creamy bands, you've got rust-orange, cross-shaped geometric motifs that give the whole ceiling a wonderful, almost Moorish or Revivalist energy. It’s a huge, unexpected pop of color in a house that’s mostly dark wood and cream plaster.
Sitting right beneath that ceiling is a massive, dark oak structure—likely part of a balcony, a minstrel's gallery, or a formal overmantel. The woodwork is incredibly dense and detailed. Two heavy, cylindrical turrets project outward from the center, each one studded with raised bosses and carved with intricate, almost Gothic patterns. The wood is a deep, polished chocolate brown, and it's accented with subtle gilding that glows warmly in the light. Behind the turrets, dark, scrolling fretwork adds another layer of texture, and a small, carved text panel sits nestled in the center. Two simple, white globe light fixtures on either side illuminate the wood beautifully, making the vibrant turquoise ceiling above and the heavy, dark oak below pop in perfect contrast.
Stripped of colour, the web becomes pure structure — line after line pulling taut across the dark, until they meet at one small, pale shape caught at the centre. No noise, no distraction. Just geometry and the quiet fact of something no longer moving.
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.
This beautiful, stylised, Art Nouveau stained glass of a geometric pattern features in a window in a bakery shop front along the busy shopping precinct of Glenhuntly Road in the Melbourne suburb of Elsternwick.
Built in 1901, the former Caledonian Hotel in Yea’s main thoroughfare of High Street is today known as the Grand Central Hotel. Like many other hotels of the same era, the former Caledonian Hotel features a beautiful dado wall of majolica tiles. This building’s glazed Arts and Crafts style tiles are green and the wall features a frieze of arabesques and ellipses edged by black and white chequered tiles.
Yea is a small country town located 109 kilometres (68 miles) north-east of Melbourne in rural Victoria. The first settlers in the district were overlanders from New South Wales, who arrived in 1837. By 1839, settlements and farms dotted the area along the Goulburn River. The town was surveyed and laid out in 1855 and named after Colonel Lacy Walter Yea (1808 – 1855); a British Army colonel killed that year in the Crimean War. Town lots went on sale at Kilmore the following year. Settlement followed and the Post Office opened on 15 January 1858. The town site was initially known to pioneer settlers as the Muddy Creek settlement for the Yea River, called Muddy Creek until 1878. When gold was discovered in the area in 1859 a number of smaller mining settlements came into existence, including Molesworth. Yea expanded into a township under the influx of hopeful prospectors, with the addition of several housing areas, an Anglican church (erected in 1869) and a population of 250 when it formally became a shire in 1873. Yea was promoted as something of a tourist centre in the 1890s with trout being released into King Parrot Creek to attract recreational anglers. A post office was built in 1890, followed by a grandstand and a butter factory (now cheese factory) in 1891. There was a proposal in 1908 to submerge the town under the Trawool Water Scheme but it never went ahead. Today Yea is a popular stopping point for tourists on their way from Melbourne to the Victorian snow fields and Lake Eildon, and is very popular with cyclists who traverse the old railway line, which has since been converted into a cycling trail.
Collection: Cornell University Collection of Political Americana, Cornell University Library
Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University
Title: 1904 Democratic National Convention Admission Ticket
Political Party: Democratic-Republican
Election Year: 1904
Date Made: 1904
Measurement: Ticket with 3 stubs: 2 3.4 x 8 3/4 in.; x 22.225 cm
Classification: Ephemera
Persistent URI: http://hdl.handle.net/1813.001/61b1
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
Collection: Cornell University Collection of Political Americana, Cornell University Library
Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University
Title: 1896 Republican National Convention Admission Tickets and Envelope
Political Party: Republican
Election Year: 1896
Date Made: ca. 1896
Classification: Envelopes
Persistent URI: http://hdl.handle.net/1813.001/619x
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
Loreto College Ballarat, a Catholic school for girls was established in 1875 by Mother Gonzaga Barry (1834 – 1915) a member of the order of the Institute of the Blessed Virgin Mary whose members are commonly known as the Sisters of Loreto; a courageous woman with a truly visionary approach that saw her create educational opportunities for girls never before considered in the society of that day. The Loreto Sisters arrived in Australia in response to a request by the Bishop of Ballarat, Bishop O'Connell. The group of ten sisters from Ireland, led by Mother Gonzaga Barry, set up a convent in Ballarat, Victoria and their first girls school, known as Mary's Mount, which today is known as Loreto College.
The Loreto Chapel, or Children’s Chapel as it is known, was built between 1898 and 1902. The architect was William Tappin and the builder George Lorimer. It is built in an English Gothic style with French influences. The stone from which it is constructed is Barrabool Hills sandstone taken from a quarry near Geelong. It also features white stone detailing from Oamaru in New Zealand. Building was interrupted through lack of funds, but the project was finally completed with a large bequest from the German Countess Elizabeth Wolff-Metternich, who had arrived at Ballarat unannounced in 1898, was captivated by the post Gold Rush city and decided to teach German to the Loreto students. A direct descendent of St Elizabeth of Hungary, Countess Elizabeth later found that she loved the peace and simplicity of the Mary's Mount cloister, and informed Mother Gonzaga that she wished to be accepted as a novice. The Mother Superior urged the young woman to return to Germany to discuss her future with her family prior to making a decision. Sadly, Countess Elizabeth was never to return to Ballarat: tragedy struck the RMS India, in the Straits of Messina en route Europe, when Countess Elizabeth died suddenly in April 1899, possibly from cholera, as she was nursing sick passengers on board the ship during its journey. When her will was read, it was found that Countess Elizabeth had left a generous 16,000 pounds to the astonished Mother Gonzaga to `be used as she thought fit'. Funds were once again available to finish the Children's Chapel, but there was to be another, seemingly impenetrable, obstacle: Germany had instituted a law forbidding money to be sent out of the country, so the funds remained frozen in Germany indefinitely. However, Countess Elizabeth's relatives contacted their distant relative, Kaiser Wilhelm of Germany (eldest grandson of England's Queen Victoria and Prince Albert) to petition that the funds be released for the Australian convent. It was only through the direct intervention of the Kaiser that the law was waived in this particular case. The Children’s Chapel was officially opened in December 1902.
The inside of the Children’s Chapel is decorated in soft pastel colours with artwork and statuary donated to the Sisters of Loreto by families in Ballarat and back in Ireland. The Rose Window over the Organ Gallery depicts Saint Cecilia the patron saint of music, surrounded by symbols of the four Evangelists, Matthew Mark Luke and John. The windows over the alter depict the instruments of the Passion of Christ. The marble alter features the Nativity scene as was requested by the girls attending Loreto at the time.