View allAll Photos Tagged geometricpatterns
Magnolia Cone Close-Up. Found it while walking under a large Magnolia tree. This one fell off the tree prematurely either by weather or blight.
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)
In this image, I wanted to capture that particular moment when the late afternoon light transforms an ordinary urban scene into a graphic tableau. The elongated shadows of the trees create dramatic lines on the ground, like a natural calligraphy. I waited for the light to be perfectly positioned so that the setting sun's rays would illuminate the building's facade, creating a striking contrast with the shadowed areas. The solitary silhouette on the right became a key element of the composition, as if absorbed by this theatrical end-of-day light. The black and white treatment emphasizes the drama of this transitory moment, as day gently fades away. This photograph captures that fragile instant when the city transforms, bathed in the last gleams of daylight, creating a contemplative atmosphere in the urban bustle.
Chiesa di San Carlo alle Quattro Fontane (1638-1640).
Architect: Francesco Borromini.
Via del Quirinale.
Rome, Lazio, Italy.
Nikon D800 | Nikkor AF-S 14-24 mm f/2.8G ED.
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.
A corner of Grand Central Terminal against a new glassy neighbor - on East 42nd Street, NYC
[GX85-1080047 PScc]
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.
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.
Welcome to Kabukicho Ichiban-gai, the iconic gateway to Tokyo’s most vibrant entertainment district. This unmistakable red arch, adorned with retro-style neon lights and bold Japanese characters, serves as a cultural and architectural landmark. The bright red design juxtaposes modern Tokyo’s sleek, high-rise buildings and reflects Kabukicho’s lively energy as the “Sleepless Town.” The signage warns visitors that smoking on the street is prohibited, a nod to Tokyo's meticulous city planning and emphasis on urban cleanliness.
Originally developed after World War II, Kabukicho was named for a planned kabuki theater that was never built. However, its name lives on, and the area flourished into a hub of entertainment, blending traditional Japanese aesthetics with ultra-modern urban design. The Ichiban-gai entrance stands as a symbolic welcome to a world of eclectic adventures, from izakayas and karaoke to late-night ramen shops and vibrant nightlife.
Framing the entryway are modern glass-front buildings, such as the one on the left featuring geometric patterns, contrasting sharply with the bold, colorful advertising to the right. This architectural mix highlights the district’s adaptability, fusing cutting-edge design with the neon-drenched nostalgia of mid-20th-century Tokyo. The narrow streets beyond the arch hold endless treasures, including hidden alleyways brimming with culinary delights and niche bars.
Kabukicho Ichiban-gai is more than an entertainment district—it’s a testament to Tokyo’s ability to evolve while retaining its unique character. Whether you’re here for a night of exploration or simply soaking in the atmosphere, this dynamic entryway sets the tone for the unforgettable experiences that lie ahead.
Played around with Adobe a little with this one.
A small bit of crop, levels adj, high pass filter with soft light blend, tweak some contrast, add some saturation, and top it off with a dash of unsharp mask.
Glowing softly against a deep blue sky, the newly rebuilt St. Thomas’ Parish Episcopal Church in Washington, D.C. offers a striking example of contemporary sacred architecture. Located at the corner of 18th and Church Streets NW in the Dupont Circle neighborhood, this modernist structure is a bold departure from traditional ecclesiastical design—yet no less reverent. Clean lines, rhythmic textures, and a glowing vertical tower capped by a radiant cross define its facade, guiding the eye upward in quiet awe.
The building, completed in 2019, replaces a historic church destroyed by fire decades earlier. Rather than recreate the past, the parish chose to move forward—commissioning a design that reflects today’s values of openness, inclusivity, and light. A translucent glass tower bathes the entrance in gentle illumination, while the shimmering metal and ceramic cladding hints at warmth and resilience. The exterior pattern, evocative of stained glass or liturgical rhythm, invites interpretation and contemplation.
At ground level, the welcoming glass entryway and gentle lighting signal transparency—both literal and metaphorical. This is a place of gathering, healing, and forward movement. Around the corner, a preserved stone arch from the original church remains as a nod to legacy, but the message here is clear: faith can be contemporary, community-centered, and architecturally ambitious.
This photo captures the spiritual quiet and urban sophistication of a church confidently situated in both the present and the future.
Architectural Survey Appendix (Historic Documentation Format):
Name: St. Thomas’ Parish Episcopal Church
Address: 1517 18th Street NW, Washington, D.C.
Date of Construction: 2019 (Rebuilt)
Architect: Hickok Cole Architects
Style: Contemporary / Modernist Sacred Architecture
Architectural Features: Illuminated vertical glass tower, cross motif, geometric metal cladding, asymmetrical elevation, glass entry pavilion
Building Material: Metal panels, glass curtain wall, ceramic rainscreen
Number of Stories: 3
Historic Integrity: Contemporary reconstruction with preserved elements from prior structure
Current Use: Active Episcopal parish
Contributing Structure: No (modern rebuild outside original period of significance)
Walls of two buildings (a grey and white one on the left, a blue glass one on the right) appear to be meeting, and perhaps even be butted together at right angles, near the middle of the frame. This is of course a visual illusion aided by the spatial compression of a long lens.
[jbm-20250531-sl3-020]
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.
Nestled in the vibrant heart of Osaka, the Daimaru Shinsaibashi Building stands as a testament to the city's rich architectural heritage. This iconic structure, completed in 1933, is a stunning example of Art Deco design, characterized by its bold geometric patterns, lavish ornamentation, and a sense of modernity that was ahead of its time. As you approach the building, the first thing that catches your eye is the magnificent entrance. The facade is adorned with intricate stone carvings, including elegant motifs and geometric designs that reflect the meticulous craftsmanship of the era. The entrance itself is a masterpiece, featuring a series of stained glass panels in warm hues of yellow and orange, arranged in a repetitive star pattern. These panels not only add a touch of color but also create a welcoming glow that beckons visitors inside. The ornate metalwork on the doors and surrounding areas further enhances the building's grandeur, showcasing the attention to detail that went into its construction. Inside, the Daimaru Shinsaibashi Building continues to impress with its opulent interiors, including a grand lobby with a stunning mural depicting the history of transportation. This building is not just an architectural gem; it also holds historical significance as a cultural and social landmark in Osaka. Whether you're an architecture enthusiast, a history buff, or simply someone who appreciates beauty, the Daimaru Shinsaibashi Building is a must-visit landmark that embodies the spirit of Osaka's architectural innovation and cultural heritage.
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
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.
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. :)
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
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.
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.
Discover the elegance of San Francisco’s modern architecture through this captivating black and white abstract. This image highlights the intricate play of light and shadow across the facade of a contemporary building, showcasing its geometric precision and sleek design. Perfect for those who appreciate architectural photography, this piece exemplifies urban sophistication with its stark contrasts and bold lines.
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.