View allAll Photos Tagged geometricpatterns
in the winter silence of magaluf, the lively chaos of summer fades into geometric stillness. this hotel, now in its off-season slumber, transforms into a study in symmetry. balconies once brimming with life become a surreal grid of repetition, broken only by the shadows that shift with the sun’s rhythm. it's a reminder of how places breathe differently when left to rest.
Lahore Fort started life as a defensive wall on the banks of River Ravi by the earliest settlers who founded Lahore. It was attacked, damaged, demolished, and rebuilt into various structures several times over, until it acquired its present general form under Emperor Akbar in 1566. Succeeding emperors, Sikh conquerors, and British colonists used the fort as the seat of their governance, and added their architectural influences to the citadel to give it its present configuration.
Alamgiri Gate is the main entrance to the Lahore Fort, and was built in 1674 by Emperor Aurangzeb. It is a massive and imposing entrance that was made to allow the emperor's elephant entourage to pass through it.
For more information on Alamgiri Gate, please see: lahore.city-history.com/places/alamgiri-gate-lahore-fort/
For more detailed information on Lahore Fort, please see: sites.ualberta.ca/~rnoor/lahore_fort.html, and
in the heart of the hofgarten, where history and elegance whisper through arcades and sunlight draws perfect shapes on ancient walls, a man stands—lost. not in the grandeur around him, not in the poetry of the past, but in the label of his beer bottle. delphi, prophecy, philosophy? none of it matters. right now, the real mystery is in his hands.
hofgarten, munich
This image is part of a series to show certainties.
But also, to show the ambiguities of foundational idealogy and tones inside of black and white. This series is not as much about tonality available on the monochromatic palette.
But rather, my friend, the separation of the superfluous from those important things we hold as true, reverent, inspirational,
and essential as guides, exhortation and favor.
This photographic series uses my likeness in different scenes to show, amplify, and witness themes of captivity, deliverance, wilderness, and restoration. Still images captured from places to reflect a narrative of these themes to exhibit completeness and process for ideation, development and implementation for carriage of ideas into a two-dimensional representation of photography as graphic, and graphic as the invitation for art.
In addition, this series will use still images to reveal, unveil, and demonstrate the uncompromising inner-workings, of an inner-life, as work for interpretative viewing, commentary, and collaboration.
Before healing happens, a brokenness must overcome us to pursue every shattered piece made whole, again.
To receive a healing, with greater drive and impetus to experience restoration from what was stolen.
Grey.
Memories of my visit to Bangkok in Thailand.
A vibrant cityscape features a collage of skyscrapers in various shades of red, orange, and purple, with glowing windows suggesting a bustling nightlife. Abstract geometric patterns and lines create a dynamic sense of urban energy and complexity.
Looking up at this glass facade, I captured how the building fragments and reflects its surroundings. The turquoise sky creates a striking backdrop for the geometric interplay of architectural elements, celebrating the abstract beauty of modern urban design.
in the stillness of an airport terminal, rows of empty seats stretch out like a quiet invitation, leading the eye toward the distant gates. the sleek, reflective floors capture a subtle play of light and shadow, while the ceiling tiles and lines create a rhythmic pattern above. two figures in the background add a sense of movement and purpose, their reflections hinting at stories of departures and arrivals. it's a moment caught between places — a brief pause in the journey, framed by the architecture of transit.
Lahore Fort started life as a defensive wall on the banks of River Ravi by the earliest settlers who founded Lahore. It was attacked, damaged, demolished, and rebuilt into various structures several times over, until it acquired its present general form under Emperor Akbar in 1566. Succeeding emperors, Sikh conquerors, and British colonists used the fort as the seat of their governance, and added their architectural influences to the citadel to give it its present configuration.
Diwan-e-Aam was built by Emperor Shah Jehan and was a public gallery where the emperor would interact with his common subjects, and receive their petitions and address their issues.
For more detailed information on Lahore Fort, please see: sites.ualberta.ca/~rnoor/lahore_fort.html, and
Los triángulos. Cientos, miles de piezas de hierro entrelazadas formando algo que ya no era puente sino geometría pura. Cada pieza sosteniendo a las demás en un equilibrio perfecto que nadie mira porque todos miran el río, la ciudad, el panorama. Pero yo miraba esto: el esqueleto dorado, la estructura que sostiene sin pedir nada. La belleza de lo funcional.
(De "Destilando la luz en Oporto" - jmsdbg.com/oporto)
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The triangles. Hundreds, thousands of iron pieces interwoven forming something that was no longer bridge but pure geometry. Each piece holding the others in perfect balance that nobody looks at because everyone looks at the river, the city, the view. But I looked at this: the golden skeleton, the structure that holds without asking for anything. The beauty of the functional.
(From "Distilling Light in Porto" - jmsdbg.com/oporto)
Lahore Fort started life as a defensive wall on the banks of River Ravi by the earliest settlers who founded Lahore. It was attacked, damaged, demolished, and rebuilt into various structures several times over, until it acquired its present general form under Emperor Akbar in 1566. Succeeding emperors, Sikh conquerors, and British colonists used the fort as the seat of their governance, and added their architectural influences to the citadel to give it its present configuration.
Diwan-e-Khass was built by Emperor Shah Jehan and was the equivalent of contemporary cabinet rooms where Mughal Emperors held meetings with their ministers, governors, and other noblemen who helped them rule the empire.
For more detailed information on Lahore Fort, please see: sites.ualberta.ca/~rnoor/lahore_fort.html, and
Grand Room of SAAM; a beautiful, colorful room and full of history. Word’s out there that once, this was the biggest room in America. #art #smithsonian #smithsonianamericanartmuseum #dc #Washington #usa #ceiling #design #paintedglass #stars #geometricpatterns #layers #architecture #hallway# #interiordesign #artgallery# #triangles #octagon #saam #hallway #interiorarchitecture #reflection #symmetry #longexposure #raw_longexposure #geometry #arch #triangle #grandroom #champions
Have a happy Saturday, thank you for your visit :)))
A wall I spotted in our neighbourhood on one of my walks....
Come and join us with your wall shots on a Wednesday.
www.flickr.com/groups/new-wall-wednesday/
Have a great day, everyone!
Imagine stepping off a narrow side street and finding yourself face-to-face with this stunning, classic corner of Portugal, most certainly in the historic heart of Porto. This image encapsulates the country’s profound love affair with azulejo tiling, as an entire multi-story building is wrapped in beautiful blue and white ceramic tiles. The patterns are intricate and traditional, primarily geometric and floral, creating a visually rich texture that gives the old building a fresh, almost shimmering facade under the bright sun.
The building itself maintains a sturdy, historic feel, featuring numerous windows and small wrought iron balconies on the upper floors, typical of Portuguese residential architecture from the late 19th or early 20th century. The blue and white coloring—the colors most commonly associated with Portuguese decorative arts—is a deliberate choice that ties the modern streetscape directly to centuries of craft and tradition.
The setting is pure European cobblestone charm. The intersection is paved with rough, irregular stones (calçada), leading the eye into the background where the street narrows into a dimly lit canyon flanked by taller buildings. The contrast is sharp: the bright, tiled façade on the left stands out against the pale, unadorned stone and plaster of the neighboring buildings. The scene is grounded by modern urban elements, including traffic signs (a clear 'Do Not Enter' sign), bollards, and a solitary figure walking quickly away from the intersection, giving a sense of the place being both a historic museum and a living, bustling part of the city. The presence of small shops and ground-floor businesses hints at the commercial activity sustaining this beautiful urban core. This view is a perfect snapshot of urban elegance and historic resilience, capturing the unique texture and light of a Portuguese afternoon.
- Dandelion (Taraxacum officinale) -
A dandelion globe holds a small galaxy of parachutes, each silver filament catching sun as if stitched with sparks; the geometry is tender and precise, a breath away from flight, and the green world blurs behind it while this bright little universe waits for a wish to turn into weather.
Badshahi Mosque is a vast structure covering 29,867.2 square meters (321, 488 square feet), and was built under the auspices of the 6th Mughal Emperor Aurangzeb in 1673. The mosque is considered one of the finer examples of Mughal architecture. Although the mosque was pillaged and abused under succeeding Sikh and British empires, the British did establish the Badshahi Mosque Authority to restore the mosque, which was taken over by Pakistan after its independence, and the restoration work was completed in 1960. Badshahi Mosque is a cultural icon of Pakistan, and has served as a location for state functions.
For more detailed information on Badshahi Mosque, see: www.newworldencyclopedia.org/entry/Badshahi_Mosque
For more information on Lahore, see: www.cnn.com/travel/article/pakistan-lahore-mughal-treasur...
Built in the 1880s, "Park Lodge" is a very grand asymmetrical Victorian mansion situated in the finest section of the inner northern Melbourne suburb of Moonee Ponds.
Built of polychromatic bricks, "Park Lodge" has a wonderful verandah and balcony adorned with elegant cast iron lacework. The roof is made of slate tiles with metal capping. The brown and yellow bricks are constructed in a profusion of geometric designs, which even make the wall treatment a great feature. Even the chimney is built of polychromatic bricks. Perhaps its most outstanding features are the distinctive French inspired Second Empire mansard roofed central tower which bears "Park Lodge's" name in a cartouche over the upper floor windows. This feature makes the property stand out for miles around.
Sadly, the original grounds of "Park Lodge" have been lost in the years since it was built, no doubt a victim to the Melbourne property bust of the 1890s. The widening of the road onto which it faces has also encroached upon its boundaries as has the widened railway line. Nevertheless, the current owners have made the most of the space they do have, planting a formal Victorian style garden in keeping with the house's age. It features a range of topiaries and small hedges. The whole garden is enclosed by an ornate wrought iron fence.
Moonee Ponds, like its neighbouring boroughs of Ascot Vale and Essendon, was etablished in the late 1880s and early 1890s. However, unlike its neighbours, it was an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. Built in the most affluent area of Moonee Ponds, this mansion would have suited a large, wealthy Victorian family of some importance and would have required a small retinue of servants to maintain. Today it is still mantained as a private residence.
A skyward view of the iconic "palm tree" vault at the Jacobins Convent in Toulouse. Shot from the base of the central column, this perspective reveals the intricate geometry of 22 radiating ribs that form this unique 13th-century Gothic masterpiece. The harmony between medieval architecture and contemporary light installation is enhanced by natural light filtering through the stained glass windows, while the characteristic Toulouse red brick and stone create a timeless chromatic pattern.
Built in the 1880s, "Park Lodge" is a very grand asymmetrical Victorian mansion situated in the finest section of the inner northern Melbourne suburb of Moonee Ponds.
Built of polychromatic bricks, "Park Lodge" has a wonderful verandah and balcony adorned with elegant cast iron lacework. The roof is made of slate tiles with metal capping. The brown and yellow bricks are constructed in a profusion of geometric designs, which even make the wall treatment a great feature. Even the chimney is built of polychromatic bricks. Perhaps its most outstanding features are the distinctive French inspired Second Empire mansard roofed central tower which bears "Park Lodge's" name in a cartouche over the upper floor windows. This feature makes the property stand out for miles around.
Sadly, the original grounds of "Park Lodge" have been lost in the years since it was built, no doubt a victim to the Melbourne property bust of the 1890s. The widening of the road onto which it faces has also encroached upon its boundaries as has the widened railway line. Nevertheless, the current owners have made the most of the space they do have, planting a formal Victorian style garden in keeping with the house's age. It features a range of topiaries and small hedges. The whole garden is enclosed by an ornate wrought iron fence.
Moonee Ponds, like its neighbouring boroughs of Ascot Vale and Essendon, was etablished in the late 1880s and early 1890s. However, unlike its neighbours, it was an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. Built in the most affluent area of Moonee Ponds, this mansion would have suited a large, wealthy Victorian family of some importance and would have required a small retinue of servants to maintain. Today it is still mantained as a private residence.
Built in the 1880s, "Park Lodge" is a very grand asymmetrical Victorian mansion situated in the finest section of the inner northern Melbourne suburb of Moonee Ponds.
Built of polychromatic bricks, "Park Lodge" has a wonderful verandah and balcony adorned with elegant cast iron lacework. The roof is made of slate tiles with metal capping. The brown and yellow bricks are constructed in a profusion of geometric designs, which even make the wall treatment a great feature. Even the chimney is built of polychromatic bricks. Perhaps its most outstanding features are the distinctive French inspired Second Empire mansard roofed central tower which bears "Park Lodge's" name in a cartouche over the upper floor windows. This feature makes the property stand out for miles around.
Sadly, the original grounds of "Park Lodge" have been lost in the years since it was built, no doubt a victim to the Melbourne property bust of the 1890s. The widening of the road onto which it faces has also encroached upon its boundaries as has the widened railway line. Nevertheless, the current owners have made the most of the space they do have, planting a formal Victorian style garden in keeping with the house's age. It features a range of topiaries and small hedges. The whole garden is enclosed by an ornate wrought iron fence.
Moonee Ponds, like its neighbouring boroughs of Ascot Vale and Essendon, was etablished in the late 1880s and early 1890s. However, unlike its neighbours, it was an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. Built in the most affluent area of Moonee Ponds, this mansion would have suited a large, wealthy Victorian family of some importance and would have required a small retinue of servants to maintain. Today it is still mantained as a private residence.
Built in the 1880s, "Park Lodge" is a very grand asymmetrical Victorian mansion situated in the finest section of the inner northern Melbourne suburb of Moonee Ponds.
Built of polychromatic bricks, "Park Lodge" has a wonderful verandah and balcony adorned with elegant cast iron lacework. The roof is made of slate tiles with metal capping. The brown and yellow bricks are constructed in a profusion of geometric designs, which even make the wall treatment a great feature. Even the chimney is built of polychromatic bricks. Perhaps its most outstanding features are the distinctive French inspired Second Empire mansard roofed central tower which bears "Park Lodge's" name in a cartouche over the upper floor windows. This feature makes the property stand out for miles around.
Sadly, the original grounds of "Park Lodge" have been lost in the years since it was built, no doubt a victim to the Melbourne property bust of the 1890s. The widening of the road onto which it faces has also encroached upon its boundaries as has the widened railway line. Nevertheless, the current owners have made the most of the space they do have, planting a formal Victorian style garden in keeping with the house's age. It features a range of topiaries and small hedges. The whole garden is enclosed by an ornate wrought iron fence.
Moonee Ponds, like its neighbouring boroughs of Ascot Vale and Essendon, was etablished in the late 1880s and early 1890s. However, unlike its neighbours, it was an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. Built in the most affluent area of Moonee Ponds, this mansion would have suited a large, wealthy Victorian family of some importance and would have required a small retinue of servants to maintain. Today it is still mantained as a private residence.
One of the most stunning features of Hearst Castle is the opulent Roman Pool, an indoor swimming pool that looks straight out of a palace from ancient times. This jaw-dropping masterpiece is located beneath the tennis courts and is modeled after the luxurious baths of ancient Rome. Adorned with intricate blue and gold mosaic tiles, the pool is a symbol of wealth and grandeur, capturing the imagination of anyone who visits.
Designed by architect Julia Morgan, the Roman Pool was completed in the mid-1920s and remains one of the most iconic aspects of Hearst Castle today. The small glass and gold tiles (tesserae) are laid out in mesmerizing geometric patterns, with the recurring motif of the ancient Greek key and several depictions of mythological figures, including Neptune and Nereid. The deep blue hue of the tiles combined with the pool’s dramatic lighting creates a surreal and reflective effect, making it seem almost otherworldly. Eight Roman-style statues guard the space, adding to the classical grandeur.
Each corner and detail in the pool was meticulously planned, down to the alabaster lamps that stand elegantly by the pool’s edge, casting a soft glow. The ceiling, though weathered over time, complements the lavishness of the pool with its ornate design.
Visiting Hearst Castle and seeing the Roman Pool is like stepping into a different era, a place where art, architecture, and opulence meet. For architecture buffs and those with a love for history, this pool is not just a swimming area—it's an artistic experience not to be missed.
After the Great War (1914 - 1918), higher costs of living and the "servant problem" made living in the grand mansions and villas built in the Victorian and Edwardian eras a far less practical and attractive option for both those looking for new housing, and those who lived in big houses. It was around this time, in answer to these problems, that flats and apartments began to replace some larger houses, and became fashionable to live in.
This very stylish Art Deco block of flats would have suited those of comfortable means who could afford to live in East Melbourne (the suburb in which these flats are located), and dispense with the difficulties of keeping a large retinue of staff.
This block has a wonderful entranceway with geometric Jazz Age designs to either side of the entrance and around the stairwell windows. The stairwell area itself with its stepped roofline has been made an architectural feature as it stands out from the rest of the block's facade. This block of flats is typical of the Art Deco architecture that came out of England after the war. They are as chic today as when they were first built in the 20s or early 30s.
O Jardim de Santa Bárbara, em Braga, Portugal, é um emblemático espaço verde público classificado como Bem Cultural de Interesse Municipal desde 2018, adjacente à ala medieval do Paço Episcopal Bracarense. Concebido em 1955 por José Cardoso da Silva, o jardim destaca-se pelos canteiros geométricos, com flores sazonais que criam padrões coloridos contrastantes com a arquitetura medieval do paço, cujos muros em granito e ameias são vestígios da antiga fortificação da cidade. No centro, encontra-se uma fonte do século XVII proveniente do antigo Convento dos Remédios, encimada pela estátua de Santa Bárbara, que empresta o nome ao jardim. Este espaço, de organização formal e inspiração renascentista convida à contemplação e ao lazer, articulando o património arquitetónico com a gestão dos espaços verdes urbanos, sendo um ponto de interesse turístico e cultural de destaque.
The Santa Bárbara Garden in Braga, Portugal, is an iconic public green space classified as a Cultural Asset of Municipal Interest since 2018, adjacent to the medieval wing of the Episcopal Palace of Braga. Designed in 1955 by José Cardoso da Silva, the garden stands out for its geometric flower beds, with seasonal flowers that create colorful patterns contrasting with the medieval architecture of the palace, whose granite walls and battlements are remnants of the city's ancient fortifications. In the center is a 17th-century fountain from the former Convento dos Remédios, topped by a statue of Santa Bárbara, after whom the garden is named. This space, with its formal layout and Renaissance inspiration invites contemplation and leisure, linking architectural heritage with the management of urban green spaces, and is a prominent tourist and cultural attraction.
Lahore Fort started life as a defensive wall on the banks of River Ravi by the earliest settlers who founded Lahore. It was attacked, damaged, demolished, and rebuilt into various structures several times over, until it acquired its present general form under Emperor Akbar in 1566. Succeeding emperors, Sikh conquerors, and British colonists used the fort as the seat of their governance, and added their architectural influences to the citadel to give it its present configuration.
Detail of lattice work, which is made from a single piece of pink Jaipur sandstone.
For more detailed information on Lahore Fort, please see: sites.ualberta.ca/~rnoor/lahore_fort.html, and
Although not the most valuable object that I own, this is one of my most precious pieces. This is my Great Grandmother’s small Anglo-Indian jewellery box, which she brought back from India after she and my Grandfather finished a period in the diplomatic corps during the Raj just before the Great War. It is precious to me because it holds some of the most tangible memories I have of my Great Grandmother and my Grandmother. This sat on my Great Grandmother’s dressing table and housed some of her everyday jewellery. I remember visiting her and watching her take out her pearls and cameos and glittering rings when she was getting ready to receive visitors or to go out. Even when I hold it now or hear the rich sounds of the box lid as it closes, in my mind I can still smell her violet and lily of the valley perfumes and her cold cream. When she died, my Grandmother inherited it and it sat on her dressing table. When I hold it, I can hear her laugh as I played with the pearl necklaces, earrings and rings that she kept in there, including the Regency ebony and ivory earrings I called “Flora” and “Fauna”. The yellowing of the ivory is a sign of its advanced age, and its edges have been worn by many hands touching them over the last century: not least of all mine.
The theme for Smile on Saturday for the 15th of May is “full of memories”. The challenge was to search for something that brings back a certain memory, take a picture of it and share what memories it brings back for you. I have inherited so many items from my Grandparent’s estates that hold great sentimental value for me. The hard part for me about this challenge, was choosing one object out of the many. As I have used my Grandfather’s chess set several times before for other challenges in this group, I settled upon this beloved little jewellery box, which is full of memories.
The jewellery box itself is an Anglo-Indian (Indian made but designed for the British market who lived in India during the Raj) made in the 1890s. It is fashioned from ebony and rosewood with the most exquisite hand-made geometric marquetry inlay of ivory and mother of pearl. The detail photos show how intricate the geometric pattern is, and how perfectly each piece is fitted. This might impress you even more when you think that the box itself is ten and a half centimetres long, by six and half centimetres wide and four and a half centimetres deep. The ebony frames to the hexagons on the lid are one millimetre thick, the vertical rosewood bands on the ivory edge of the lid are half a millimetre in width, the smallest triangles on the sides each have sides of one millimetre in length and the triangles around the flowers on the lid have sides less than half a millimetre in length: and all of this was made with precision by hand by a master artisan more than a century ago.
Lahore Fort started life as a defensive wall on the banks of River Ravi by the earliest settlers who founded Lahore. It was attacked, damaged, demolished, and rebuilt into various structures several times over, until it acquired its present general form under Emperor Akbar in 1566. Succeeding emperors, Sikh conquerors, and British colonists used the fort as the seat of their governance, and added their architectural influences to the citadel to give it its present configuration.
Legend has it that Empress Mumtaz Mahal (who is entombed in the Taj Mahal in Agra) told her husband Emperor Shah Jehan that she had a dream in which she looked up at the stars, and each star had her face on it. The Emperor was so taken by his Empress that he decided to make her dream come true, and built the Sheesh Mahal, the walls and ceilings of which were embedded with thousands of convex mirrors and precious/semi-precious stones, so that anywhere one looked they would see a reflection of themselves. Unfortunately, Mumtaz Mahal died before she could visit Sheesh Mahal, and the grieving emperor built the magnificent Taj Mahal as his wife's final resting place.
For more information on Sheesh Mahal, please see: www.pakistantoday.com.pk/2016/11/20/the-mirror-palace/
For more detailed information on Lahore Fort, please see: sites.ualberta.ca/~rnoor/lahore_fort.html, and
Facing this contemporary building, I wanted to capture the essence of its striking geometry. By choosing a low-angle composition and high-contrast black and white treatment, I sought to transform this architectural structure into an image where lines and shapes take center stage. The dark sky and repetitive patterns of the facade create a visual dialogue that naturally draws the eye upward.
This photograph explores how modern architecture shapes our cities. The simplicity of lines, the power of contrast, and the pure geometry of the building reveal an abstract beauty in our everyday urban environment. I wanted to share this vision of architecture becoming art, where function transforms into pure aesthetics.
At first sight of this structure, I was struck by the hypnotic pattern of parallel lines flowing through space. The contrast between light and dark, combined with the graceful curve, created an almost abstract composition. I chose black and white to emphasize the geometric purity of the design.
Lahore Fort started life as a defensive wall on the banks of River Ravi by the earliest settlers who founded Lahore. It was attacked, damaged, demolished, and rebuilt into various structures several times over, until it acquired its present general form under Emperor Akbar in 1566. Succeeding emperors, Sikh conquerors, and British colonists used the fort as the seat of their governance, and added their architectural influences to the citadel to give it its current configuration.
Long distance communication in the contemporaneous era was undertaken by trained pigeons. These pigeon holes were the bases from which royal communications were dispatched and received. Even though technology has made messenger pigeons redundant, their descendants still occupy these dwellings.
For more detailed information on Lahore Fort, please see: sites.ualberta.ca/~rnoor/lahore_fort.html, and