View allAll Photos Tagged geometricpatterns
The tombstone of Claudio Monteverdi, adorned with roses, in the Santa Maria dei Frari church, Venice.
Wonderful winter days in Copenhagen.
All of these images are single exposure with basic edits - nothing added, nothing removed. The only use of AI is for moderate noise reduction.
All images by Alex Berger, please reach out directly for licensing or usage requests.
Find more of my work at alex-berger.com or on virtualwayfarer.com.
I painted this for my parents for christmas 2007. Aren't they good looking? oil on wood, 24 by 24 inches
A detailed interior study of traditional mosaic hanging lamps at a stall in Durham Indoor Market. The photograph highlights the intricate geometric patterns and vibrant colours of the glasswork, utilizing a shallow depth of field to create a rhythmic, out-of-focus background. This shot was taken during the market's 175th-anniversary celebrations in May 2026.
Looking down the center of an immersive art installation lined with colorful honeycomb light panels, with a sculpted sphere reflected in the mirrored interior.
Strap-end, early C7th
Gold, garnet
Small gold strap-end, tongue-shaped, with inlaid cloisonné garnet work. The central cell is mushroom-shaped, while the two end cells are step-cut with a ladder pattern border consisting of narrow rectangular cells, which curve at the toe to form the rounded end. Each cloisonné cell has an underlay of stamped gold foil. There are three dome-headed rivets, one at each shoulder and one at the tongue, all of which connect with a triangular back-plate underneath. one of a pair with strap-end.
Buckle, early C7th
Gold, garnet
Gold buckle with rectangular plate. The buckle-end has cut-away shoulders near the loop, which is of smooth plain gold and swivels on a hinge. The tongue, also of plain gold, is fixed. The rectangular plate consists of a central panel of inlaid garnet cloisonné work formed of a mass of irregular cells, with cloisonné borders along each long side. At the end of the buckle is a shelf, set slightly lower than the rectangular plate, and set with three gold rivets with beaded wire collars, interspersed with step-cut garnet cloisonné work. These rivets connect with the plain gold back-plate. There are two more rivets with beaded wire collars, heads facing downwards, beneath the shoulders.
Buckle, c.425-455
found Córdoba, Andalucía
Gold, garnet
Gold buckle: heavy circular loop; club-shaped profiled tongue; deep circular plate with cloisonné garnet inlays; folded flap attachment with sheet back-plate; attachment rivets in peripheral collars; for a shoe, belt or sword attachment.
[British Museum]
Taken in the British Museum
Kumiko folding screen, 2019
Sakae Tategu Kōgei
Japanese castor aralia (lignitized), Japanese cedar, Japanese whitebark magnolia (lignitized), Japanese cherry, Japanese whitebark magnolia, Kiso hinoki cypress, Chinese pyramid juniper, katsura (lignitized), Japanese sumac (urushi), Japanese whitebark magnolia (sapwood), Chinese cedar
This complex kumiko work depicts a mountainous landscape, draped in mist. By applying the design to a folding screen (byōbu), the viewer can feel immersed within the surrounding landscape.*
Kumiko latticework
Kumiko refers to the intricate latticework used in Japanese architectural fittings (tategu) such as shōji – translucent, sliding partition screens; ranma – decorative transoms; and tsuitate – freestanding, movable partition screens. The origins of kumiko likely date back to the Kamakura period (1185–1333), with techniques passed down through generations. The central process involves crafting thin, delicate pieces
of wood and assembling them in various geometric patterns to form a seamless surface. This advanced technique was further developed in the latter half of the 20th century. While high-quality, straight-grained hinoki cypress is typically preferred, integrating contrasting natural colours from a variety of woods can give Kumiko works an expressive painterly quality.*
From the exhibition
The Craft of Carpentry Drawing Life from Japan’s Forests
(March – July 2025)
This exhibition reveals the essence of Japanese carpentry in three ways: through the work of temple and shrine carpenters (dōmiya daiku); that of teahouse carpenters (sukiya daiku); and joinery techniques (kigumi).
Since ancient times, Japan’s craftspeople have been shaping their social environment. Their work continues to permeate all aspects of life, contributing to everything from the everyday to the most sacred grand designs. Within this society, people have always been grateful for the blessings of nature and revered the innumerable kami – spirit-deities – residing in the natural world. Carpenters and woodcutters respectfully seek forgiveness from the forest kami before gathering the raw materials for their work. Understanding the individual qualities of trees and their environment is crucial to their activities.
The great 20th-century craftsman Nishioka Tsunekazu laid out a number of key principles. For temple construction, he advised using wood from a single mountain, and understanding the wood’s natural curves. Choosing the right wood is vital: trees grown on higher mountain slopes are ideal for structural elements such as beams and pillars, while those in the lower valleys are better for finishing materials. When used correctly, wood can last for generations. Timber is only a renewable resource if the growth period of the tree and the life of a building align. If we use a 1,000-year-old tree, we need to be prepared to take on more than 1,000 years of responsibility for the building we create.
The precision of Japanese woodworking is deeply rooted in a respect for nature, expressed through highly refined techniques and tools. In a land where iron is scarce, carpenters developed advanced joinery methods that do not rely on the use of nails. As we reconsider our relationship with our planet, these practices offer a wisdom that continues to resonate today.
[*Japan House]
Taken in Japan House
A close-up, low-angle shot captures rows of weathered concrete steps ascending diagonally across the frame. Small, black, numbered markers—visible numbers include 12, 13, 14, 15, and 16—are embedded in the risers, suggesting a stadium or arena seating section. The bright, overexposed lighting creates a high-contrast, almost monochromatic effect, emphasizing the texture and repetitive geometry of the steps.
A dramatic low-angle shot captures an ornate stained glass lamp glowing against a pitch-black background. The warm light from its two CFL bulbs illuminates the intricate green and blue geometric pattern of the shade and casts a soft glow on the dusty, cobweb-covered base, creating a moody, slightly eerie atmosphere. The composition highlights the contrast between the lamp's vintage elegance and its neglected state.
Colonia del Sacramento, Uruguay: A central panel of intricate, hand-painted azulejo tiles serves as a striking centerpiece against the rugged, weathered stone facade of an old colonial building. The vibrant blue and white geometric patterns of the tiles offer a stark, sophisticated contrast to the rough-hewn, earthy textures of the surrounding wall construction. Light catches the glazed surface of the ceramics, highlighting the historical Portuguese and Spanish influence that defines this UNESCO World Heritage site. Each individual tile contributes to a larger, complex mosaic design that draws the eye toward the center of the image. The deep mortar lines and irregular shapes of the stones emphasize the centuries of architectural history preserved within this unique corner of the town. This composition utilizes natural ambient light to bridge the gap between delicate decorative artistry and the raw, tangible grit of colonial masonry. The framing of the tiles within the stone wall suggests a thoughtful restoration process designed to honor the aesthetic legacy of the Rio de la Plata region. Observing these intricate patterns provides a deeper understanding of how European colonial techniques were adapted to the materials available in South America. Preserving such architectural details is essential for maintaining the authentic character of historical landmarks that draw travelers from around the globe to discover the layered narratives of Uruguay. This image is a collaborative production by Samuel Jeffery and Audrey Bergner for Samuel and Audrey Media Network.
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Colonia del Sacramento, Uruguay: Un panel central de intrincados azulejos pintados a mano sirve como una pieza central llamativa contra la fachada de piedra rugosa y desgastada de un antiguo edificio colonial. Los vibrantes patrones geométricos en azul y blanco de los azulejos ofrecen un contraste marcado y sofisticado con las texturas ásperas y terrosas de la construcción de la pared circundante. La luz captura la superficie vidriada de la cerámica, destacando la influencia histórica portuguesa y española que define a este sitio declarado Patrimonio de la Humanidad por la UNESCO. Cada azulejo individual contribuye a un diseño de mosaico más grande y complejo que atrae la vista hacia el centro de la imagen. Las profundas líneas de mortero y las formas irregulares de las piedras enfatizan los siglos de historia arquitectónica preservada en este rincón único de la ciudad. Esta composición utiliza luz ambiental natural para cerrar la brecha entre el delicado arte decorativo y la aspereza tangible de la mampostería colonial. El encuadre de los azulejos dentro de la pared de piedra sugiere un proceso de restauración reflexivo diseñado para honrar el legado estético de la región del Río de la Plata. Observar estos patrones intrincados proporciona una comprensión más profunda de cómo las técnicas coloniales europeas se adaptaron a los materiales disponibles en América del Sur. Preservar tales detalles arquitectónicos es esencial para mantener el carácter auténtico de los monumentos históricos que atraen a viajeros de todo el mundo para descubrir las narrativas superpuestas de Uruguay. Esta imagen es una producción colaborativa de Samuel Jeffery y Audrey Bergner para Samuel and Audrey Media Network.
Explore more of our work:
🎥 YouTube: @samuelandaudrey & @samuelyaudrey
🌎 Personal Sites: samueljeffery.net, audreybergner.com & samuelandaudrey.com
🎒 Travel Guides: thatbackpacker.com & nomadicsamuel.com
Photo by Samuel Jeffery & Audrey Bergner | Samuel and Audrey Media Network
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Kumiko folding screen, 2019
Sakae Tategu Kōgei
Japanese castor aralia (lignitized), Japanese cedar, Japanese whitebark magnolia (lignitized), Japanese cherry, Japanese whitebark magnolia, Kiso hinoki cypress, Chinese pyramid juniper, katsura (lignitized), Japanese sumac (urushi), Japanese whitebark magnolia (sapwood), Chinese cedar
This complex kumiko work depicts a mountainous landscape, draped in mist. By applying the design to a folding screen (byōbu), the viewer can feel immersed within the surrounding landscape.*
Kumiko latticework
Kumiko refers to the intricate latticework used in Japanese architectural fittings (tategu) such as shōji – translucent, sliding partition screens; ranma – decorative transoms; and tsuitate – freestanding, movable partition screens. The origins of kumiko likely date back to the Kamakura period (1185–1333), with techniques passed down through generations. The central process involves crafting thin, delicate pieces
of wood and assembling them in various geometric patterns to form a seamless surface. This advanced technique was further developed in the latter half of the 20th century. While high-quality, straight-grained hinoki cypress is typically preferred, integrating contrasting natural colours from a variety of woods can give Kumiko works an expressive painterly quality.*
From the exhibition
The Craft of Carpentry Drawing Life from Japan’s Forests
(March – July 2025)
This exhibition reveals the essence of Japanese carpentry in three ways: through the work of temple and shrine carpenters (dōmiya daiku); that of teahouse carpenters (sukiya daiku); and joinery techniques (kigumi).
Since ancient times, Japan’s craftspeople have been shaping their social environment. Their work continues to permeate all aspects of life, contributing to everything from the everyday to the most sacred grand designs. Within this society, people have always been grateful for the blessings of nature and revered the innumerable kami – spirit-deities – residing in the natural world. Carpenters and woodcutters respectfully seek forgiveness from the forest kami before gathering the raw materials for their work. Understanding the individual qualities of trees and their environment is crucial to their activities.
The great 20th-century craftsman Nishioka Tsunekazu laid out a number of key principles. For temple construction, he advised using wood from a single mountain, and understanding the wood’s natural curves. Choosing the right wood is vital: trees grown on higher mountain slopes are ideal for structural elements such as beams and pillars, while those in the lower valleys are better for finishing materials. When used correctly, wood can last for generations. Timber is only a renewable resource if the growth period of the tree and the life of a building align. If we use a 1,000-year-old tree, we need to be prepared to take on more than 1,000 years of responsibility for the building we create.
The precision of Japanese woodworking is deeply rooted in a respect for nature, expressed through highly refined techniques and tools. In a land where iron is scarce, carpenters developed advanced joinery methods that do not rely on the use of nails. As we reconsider our relationship with our planet, these practices offer a wisdom that continues to resonate today.
[*Japan House]
Taken in Japan House
Sun-baked adobe walls bear the vibrant, hand-painted legacy of the Argentine Northwest, capturing the essence of a tranquil afternoon in a high-altitude Andean village. The close-up shot zeroes in on the decorative eaves of a traditional building, where an ornate terracotta-tiled roof shelters a canvas of rustic plaster. A central, stylized floral motif—rendered in earthy ochres, deep greens, and warm browns—speaks to the rich indigenous and colonial artistic heritage prevalent throughout regions like Iruya and Salta. The photographer employs a carefully considered focal length, bringing the textured, golden-hued wooden sign reading "EL PATIO COMIDAS" into sharp relief against the painted facade. Harsh, direct sunlight casts strong, defined shadows from the black wrought-iron bracket, emphasizing the three-dimensional texture of the coarse exterior wall. These geometric and floral frescoes are characteristic of Norte Argentino's vernacular architecture, designed to add bursts of color to the stark, dramatic landscapes of the Quebrada. The sign itself, carved with thick, rustic lettering, invites weary travelers to partake in regional culinary delights, hinting at the warm hospitality found within. Peeling paint and weathered textures tell a subtle story of relentless mountain winds and intense solar exposure, grounding the image in its rugged environment. A sliver of crisp, clear blue sky peeks out at the very top, offering a subtle, cool contrast to the warm, earthy tones dominating the composition. This intimate, tightly cropped framing excludes the wider streetscape, compelling the viewer to appreciate the intricate craftsmanship and historical aesthetic of Andean daily life. This image is a collaborative production by Samuel Jeffery and Audrey Bergner for Project 23.
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Las paredes de adobe cocidas por el sol llevan el legado vibrante y pintado a mano del noroeste argentino, capturando la esencia de una tarde tranquila en un pueblo andino de gran altitud. La toma en primer plano se centra en los aleros decorativos de un edificio tradicional, donde un techo ornamentado de tejas de terracota alberga un lienzo de yeso rústico. Un motivo floral estilizado central, representado en ocres terrosos, verdes profundos y marrones cálidos, habla de la rica herencia artística indígena y colonial que prevalece en regiones como Iruya y Salta. El fotógrafo emplea una distancia focal cuidadosamente considerada, haciendo que el letrero de madera de tonos dorados y texturizados que dice "EL PATIO COMIDAS" resalte nítidamente contra la fachada pintada. La luz solar dura y directa proyecta sombras fuertes y definidas desde el soporte de hierro forjado negro, enfatizando la textura tridimensional de la pared exterior áspera. Estos frescos geométricos y florales son característicos de la arquitectura vernácula del Norte Argentino, diseñados para agregar estallidos de color a los paisajes dramáticos y desolados de la Quebrada. El letrero en sí, tallado con letras gruesas y rústicas, invita a los viajeros cansados a participar en las delicias culinarias regionales, insinuando la cálida hospitalidad que se encuentra en su interior. La pintura descascarada y las texturas desgastadas cuentan una historia sutil de vientos de montaña implacables y una intensa exposición solar, anclando la imagen en su entorno escarpado. Una franja de cielo azul claro y nítido se asoma en la parte superior, ofreciendo un contraste sutil y fresco con los tonos cálidos y terrosos que dominan la composición. Este encuadre íntimo y muy recortado excluye el paisaje callejero más amplio, obligando al espectador a apreciar la intrincada artesanía y la estética histórica de la vida cotidiana andina. Esta imagen es una producción colaborativa de Samuel Jeffery y Audrey Bergner para el Proyecto 23.
Explore more of our work:
Local Guides: cheargentinatravel.com & nomadicsamuel.com
🌎 Personal Sites: samueljeffery.net, audreybergner.com & samuelandaudrey.com
Photo by Samuel Jeffery & Audrey Bergner | Project 23
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Bathed in the intense, golden hour sunlight typical of the Argentine Northwest, a textured ochre wall serves as a canvas for dramatic architectural interplay. Three identical, scalloped arches crafted from rustic terracotta roof tiles protrude from the facade, forming decorative crowns above deep rectangular recesses. The harsh, directional light casts striking, deeply saturated shadows that cascade downwards, mirroring the undulating curves of the clay tiles. A shallow depth of field subtly blurs the furthest arch, drawing the viewer's eye across the coarse, stucco-like surface of the building. This structural detailing is highly characteristic of the Andean architecture found in remote villages like Iruya, where traditional adobe and ceramic materials dominate the landscape. The warm, earthy color palette of mustard yellows and burnt siennas evokes the arid, sun-baked environment of the high-altitude desert. The composition relies heavily on geometric repetition and the stark contrast between the illuminated, textured plaster and the impenetrable blackness of the alcoves. Each shadow acts as a sundial, its length and sharpness a testament to the unforgiving clarity of the Andean sky. The tactile quality of the rough-hewn walls contrasts beautifully with the smooth, fired clay of the curved tiles. It is a minimalist yet profoundly evocative capture that distills the essence of northern Argentina's heritage into pure light, shadow, and form. This image is a collaborative production by Samuel Jeffery and Audrey Bergner for Project 23.
---
Bañada por la intensa luz solar de la hora dorada típica del noroeste argentino, una pared ocre texturizada sirve como lienzo para una dramática interacción arquitectónica. Tres arcos festoneados idénticos elaborados con tejas rústicas de terracota sobresalen de la fachada, formando coronas decorativas sobre profundos huecos rectangulares. La luz dura y direccional proyecta sombras llamativas y profundamente saturadas que caen en cascada hacia abajo, reflejando las curvas ondulantes de las tejas de arcilla. Una profundidad de campo reducida desenfoca sutilmente el arco más lejano, atrayendo la mirada del espectador a través de la superficie rugosa, similar al estuco, del edificio. Este detalle estructural es muy característico de la arquitectura andina que se encuentra en pueblos remotos como Iruya, donde los materiales tradicionales de adobe y cerámica dominan el paisaje. La paleta de colores cálidos y terrosos de amarillos mostaza y sienas tostadas evoca el ambiente árido y bañado por el sol del desierto de gran altitud. La composición se basa en gran medida en la repetición geométrica y el fuerte contraste entre el yeso iluminado y texturizado y la oscuridad impenetrable de las alcobas. Cada sombra actúa como un reloj de sol, y su longitud y nitidez son un testimonio de la claridad implacable del cielo andino. La cualidad táctil de las paredes toscas contrasta maravillosamente con la arcilla cocida y lisa de las tejas curvas. Es una captura minimalista pero profundamente evocadora que destila la esencia del patrimonio del norte de Argentina en pura luz, sombra y forma. Esta imagen es una producción colaborativa de Samuel Jeffery y Audrey Bergner para el Proyecto 23.
Explore more of our work:
Local Guides: cheargentinatravel.com & nomadicsamuel.com
🌎 Personal Sites: samueljeffery.net, audreybergner.com & samuelandaudrey.com
Photo by Samuel Jeffery & Audrey Bergner | Project 23
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