View allAll Photos Tagged geometricpatterns
A corner of Grand Central Terminal against a new glassy neighbor - on East 42nd Street, NYC
[GX85-1080047 PScc]
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.
I looked straight down into a food mill sieve and noticed how the tiny holes turned the light into a pattern of glowing dots. From this angle the kitchen tool almost stopped looking like a tool at all, becoming a warm, abstract circle of light and repeating shapes.
The outer peristyle's garden-facing portico rewards a dead-center axis that most visitors walk through rather than stop to read. Standing back at gravel level, framing the composition between the clipped box parterres, the image collapses the Villa's theatrical layering into a single compressed plane: terracotta antefixes marching across a saturated Pompeian red fascia, the coffered ceiling's ochre and cream geometry, Doric columns bleached white against a Southern California sky that could plausibly pass for the Bay of Naples on a cooperative afternoon. The aedicule centered in the rear wall — that miniature shrine-like window surround — acts as a bull's-eye pulling the eye through the portico's depth and anchoring the bilateral symmetry that Norris Hatch & Faulkner's original 1974 design borrowed wholesale from the Villa dei Papiri at Herculaneum. Machado Silvetti's 2006 renovation restored the polychrome program to something closer to scholarly consensus on Roman domestic color, and this framing makes the argument viscerally: this is not beige antiquity. The topiary geometry below mirrors the ceiling's coffering above, a formal rhyme the straight-on position makes legible in a way that any oblique angle would dissolve.
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.
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)
O Claustro Pequeno, núcleo mais antigo do Convento da Madre de Deus, atual Museu Nacional do Azulejo, em Lisboa, exibe uma rica combinação de estilos arquitetónicos, do gótico tardio ao Renascimento. Fundado em 1509 pela Rainha D. Leonor, o claustro apresenta paredes revestidas a azulejos, destacando-se o padrão geométrico "ponta de diamante", em relevo, característico da azulejaria maneirista dos finais do século XVI, com influências sevilhanas e produção em Lisboa. Integra ainda um lavabo ou fonte em pedra, elemento comum nos claustros conventuais. Ao longo dos séculos, o complexo sofreu alterações, nomeadamente sob o reinado de D. João III e após o terramoto de 1755, acumulando traços manuelinos e barrocos. O piso superior apresenta uma galeria de arcadas em pedra calcária, assentes em colunas com capitéis coríntios, com painéis de azulejos hispano-mouriscos em padrão geométrico azul e amarelo. O espaço serve como um testemunho vivo da evolução da azulejaria em Portugal.
The Small Cloister, the oldest part of the Madre de Deus Convent, now the National Tile Museum in Lisbon, displays a rich combination of architectural styles, from late Gothic to Renaissance. Founded in 1509 by Queen Leonor, the cloister has walls covered with tiles, featuring the geometric “diamond point” pattern in relief, characteristic of Mannerist tile work from the late 16th century, with Sevillian influences and production in Lisbon. It also includes a stone washbasin or fountain, a common feature in convent cloisters. Over the centuries, the complex underwent changes, particularly during the reign of King João III and after the 1755 earthquake, accumulating Manueline and Baroque features. The upper floor features a gallery of limestone arcades, resting on columns with Corinthian capitals, with panels of Hispano-Moorish tiles in a blue and yellow geometric pattern. The space serves as a living testimony to the evolution of tile work in Portugal.
A low-angle view of a windmill's lattice sail rising into a wispy, cirrus-streaked blue sky, with the corrugated edge of a nearby roof cutting into the corner of the frame.
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 striking view of a modern architectural structure with repeating geometric columns reflecting in a still pool at the Tianfu Art Corridor. The background features a contemporary urban skyline under a clear blue sky, blending architecture with city life.
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.
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.
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.
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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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
Erguendo-se a 210 metros de altura em Casablanca, Marrocos, o minarete da Mesquita Hassan II é uma estrutura imponente que personifica a arquitetura islâmica contemporânea. Concluído em 1993 sob a visão do Rei Hassan II e projetado pelo arquiteto francês Michel Pinseau, o minarete destaca-se pela sua combinação de tradição e inovação. A sua construção integra artesanato marroquino, com intrincados padrões geométricos em zellige, pedra calcária esculpida à mão, granito do Atlas, mármore de Agadir e madeira de cedro, enquanto a engenharia moderna garante a resistência à atividade sísmica e aos ventos costeiros. No topo, um feixe laser com alcance de 30 quilómetros aponta permanentemente para Meca, simbolizando a orientação espiritual. A mesquita, parcialmente construída sobre o Oceano Atlântico, reflete um versículo do Alcorão e pode acolher milhares de fiéis. Aberta a não-muçulmanos, a Mesquita Hassan II é um centro cultural e um símbolo da identidade marroquina, combinando a espiritualidade com a paisagem costeira.
Rising 210 meters high in Casablanca, Morocco, the minaret of the Hassan II Mosque is an imposing structure that embodies contemporary Islamic architecture. Completed in 1993 under the vision of King Hassan II and designed by French architect Michel Pinseau, the minaret stands out for its combination of tradition and innovation. Its construction incorporates Moroccan craftsmanship, with intricate geometric patterns in zellige, hand-carved limestone, Atlas granite, Agadir marble, and cedar wood, while modern engineering ensures resistance to seismic activity and coastal winds. At the top, a laser beam with a range of 30 kilometers permanently points towards Mecca, symbolizing spiritual guidance. The mosque, partially built over the Atlantic Ocean, reflects a verse from the Koran and can accommodate thousands of worshippers. Open to non-Muslims, the Hassan II Mosque is a cultural center and a symbol of Moroccan identity, combining spirituality with the coastal landscape.
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.
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.
The Louvre in Abu Dhabi - celebrating its one-year anniversary shortly - is a wonderful gallery on many levels. But for me, the utterly astonishing roof structure alone is worth the visit - a wonderful mashing up of traditional Islamic geometric forms, modern architecture and materials, and sensitivity to nature and the setting. This shot is taken looking straight up.
The Louvre Abu Dhabi
UAE
Leica M10
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. :)
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.
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
Chinatown announces itself here with color, pattern, and density layered straight onto the street wall. A broad turquoise façade stretches across the block, its upper stories wrapped in a continuous mural that reads like a procession—figures rendered in calm, watchful repetition, stitched between windows, fire escapes, and railings that never quite disappear. The building doesn’t retreat from its utility; it absorbs it. Ladders, balconies, and window frames become part of the composition, not interruptions but anchors.
Red lanterns punctuate the street edge at a steady rhythm, pulling the eye laterally before sending it back up to the painted faces. The palette is deliberate: cool blue-green masonry holding the field, warm skin tones and reds supplying counterpoint, all grounded by the darker storefront band below. Even with shutters down and interiors quiet, the block feels active—defined less by movement than by presence.
This is Chinatown as streetscape rather than spectacle. No single focal point competes for attention; the power comes from accumulation. The mural spans the building like a frieze, echoing the neighborhood’s habit of telling stories collectively, wall by wall, block by block. Trees in planters soften the sidewalk edge, their scale reinforcing how tall the façade actually is when you stand across the street.
Seen straight on, the architecture asserts its role as public surface. It’s not just enclosure for shops and apartments, but a shared face turned outward—one that rewards looking slowly, the way Chinatown always has, on foot, at street level, attentive to detail and continuity rather than novelty.
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.
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.
Shot straight-on at night with the kind of compression that makes a seventeen-story tower feel like it's about to tip into your lap, this image does something most architectural photography refuses to do: it lets the building be boring in the best possible way. The Santa Monica Professional Building — completed in 1963 and one of the tallest structures on the Westside for years — is a masterclass in restrained commercial modernism. The facade is almost compulsively repetitive: grid upon grid of punched windows set into a warm limestone-clad curtain wall, the vertical piers providing just enough relief to save it from pure banality. There's a ghost of late Streamline Moderne in the base detailing, particularly around the ground floor entrance surround, a nod to the pre-war Santa Monica that was rapidly disappearing when this tower went up. What anchors the image is the ground-floor contrast: the Misfit restaurant's dark canopy and warm entry glow carving out a human-scaled moment beneath twenty floors of corporate repetition. The long-exposure light trails at street level, the lone figure on the sidewalk, the neon blade sign bleeding in from the left — together they make the case that Santa Monica's downtown, perpetually underestimated, has more atmospheric density after midnight than most people bother to notice.
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.