Ribs of steel radiate outward from a central drum like spokes on a wheel, each one carrying a shallow-vaulted pane of glass across the barrel-curved skylight above the Forum Shops' Strip-facing entrance. Palm fronds crowd the lower edge of the frame, their fan-shaped leaves echoing the fan of structural members overhead, while distorted reflections of LED marquee signage bleed through the curved glazing in streaks of magenta and gold.

Added in the mall's 2004 expansion, the atrium replaced an older entrance with a three-story hall built out toward Las Vegas Boulevard, giving the retail complex a proper architectural statement to match its neighbor's marble colonnades and gilded eagle. The dome's engineering owes more to greenhouse conservatories than to Rome, but the effect still reads as theatrical: a controlled, climate-tempered garden suspended above one of the busiest sidewalks on the Strip.

Shooting straight up from beneath the palms collapses the whole structure into pure geometry, ribs converging on a single point the way a fisheye might, without needing one. Cropping out any horizon line strips away scale cues entirely, leaving the dome to read first as pattern and only second as architecture, a reminder that Vegas malls borrow as freely from botanical gardens as they do from ancient empires.

An abstract, high-angle view of a vibrant paving stone pattern, featuring blocks of red, blue, green, and teal arranged in a dynamic, interlocking design. The texture of the stones is visible, adding depth to the colorful mosaic.

These books are no match for the EXTREME FUN of the architectural surprises.

This 15-year-old public library achieves the feat of looking NEWER AND NEWER with each passing moment. Nah I'm just kidding.

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In downtown Seattle on January 26th, 2019, inside the Seattle Central Library, designed by Rem Koolhaas and Joshua Ramus, completed in 2004.

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Getty Thesaurus of Geographic Names terms:

• King (county) (7018871)

• Seattle (7014494)

Art & Architecture Thesaurus terms:

• Deconstructivist (300112407)

• geometric patterns (300165213)

• girders (300001534)

• indoor photography (300053448)

• library bookshelves (300038867)

• Postmodern (300022208)

• public libraries (buildings) (300006877)

Wikidata items:

• 26 January 2019 (Q57349479)

• 2000s architecture (Q7160155)

• Buildings and structures completed in 2004 (Q8318808)

• Downtown Seattle (Q745358)

• January 26 (Q2282)

• January 2019 (Q46992899)

• Joshua Ramus (Q6290134)

• postmodern architecture (Q595448)

• Seattle Central Library (Q2531939)

• Seattle Public Library (Q7442157)

• Western Washington (Q3297259)

Library of Congress Subject Headings:

• Geometry in architecture (sh00000156)

Union List of Artist Names IDs:

• Koolhaas, Rem (Dutch architect, born 1944) (500004300)

Paris 2024

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From the courtyard you get to the chambers that contained one or more burials. This tomb number 2, has a door flanked with two small pillars, it's said that each had a statue of sphinx on its top.

These limestone tombs, are painted to simulate alabaster and marble.

They are decorated with multi-colored geometric patterns and fine fresco ornaments.

The tombs at Anfushi, date back to the third century BC, about 250 BC, with the late Ptolemaic and early Roman eras.

Alexandria, Anfushi tomb number 2

Islamic tiles. Goldborne Rd, London.

society6.com/MarinaCaprara/Windows-tdA_Print

Cambridge Central Mosque, 27 February 2023

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Abstract pattern on pink and grey.

The beautiful naos with the cobra friezes and a ceiling with geometric patterns.

The tombs at Anfushi, date back to the third century BC, about 250 BC, with the late Ptolemaic and early Roman eras.

Alexandria, Anfushi tomb number 2

This geometric pattern expresses hemp leaf.

Ｈemp(Asanoha) pattern is a traditional pattern of Japanese.

The hemp is a plant growing up fast.

This is a pattern praying for the growth of the child.

This tight crop is a perfect demonstration of Wright's willingness to mix the rough with the precise. The lower half of the frame is a heavy, stepped desert-masonry wall built from irregular stones in deep browns, rusty reds, and purplish-blues. The stones are set in a thick, sandy-grey mortar, and the wall rises in tiers that feel ancient and grounded.

Capping that heavy stone is a crisp, geometric checkerboard of cream and tan squares—a deliberate, man-made pattern that provides a clean visual break between the raw earth and the finished building. Above it sits a deep-red wooden roof overhang.

Running down the center of the composition are two thin, parallel blue metal downspouts. They are detailed with painted horizontal bands of burnt-orange, and they are secured to the building with a simple, visible U-shaped bracket. The paint is slightly worn and chipped in a few spots—a quiet reminder that this is a working building that has been weathered by decades of desert sun.

Below the checkered band, a glass door framed in reddish-brown reflects the blue sky, the white clouds, and the distant mountains. Wright didn't hide his plumbing. He painted it bright blue, gave it orange accents, and let it run proudly down the face of the wall. It is a playful, functional statement that ties the building to the sky above it.

Taken on March 12, 2009, a vent in the ceiling of the Foggy Dew in Richmond, British Columbia is the last place you'd expect to find concentric shapes.