View allAll Photos Tagged geometricpatterns
Através dos painéis de vidro laminado colorido da Ponte Pedonal Pedro e Inês, erguida sobre o Rio Mondego em 2006, observa-se uma perspetiva fragmentada e singular de Coimbra. Esta estrutura, parte integrante do Programa Polis, foi concebida pelo engenheiro António Adão da Fonseca e pelo arquiteto Cecil Balmond, integrando passadiços de madeira e guardas laterais de vidro com formas geométricas irregulares em tons de amarelo, azul, verde e rosa, que filtram a luz e modificam a perceção cromática da envolvente. A ilusão de desencontro das margens, unidas por uma praça central suspensa, confere à ponte um design tecnicamente inovador. O enquadramento propiciado pelos vidros permite distinguir o Parque Verde e, ao fundo, a encosta da cidade, dominada pela Universidade de Coimbra, classificada como Património Mundial pela UNESCO. A ponte, além de promover a mobilidade pedonal e ciclável entre as margens, funciona como elemento de desenho urbano, modulando luz, transparência e segurança e estabelecendo uma ligação simbólica entre o passado histórico da cidade e a sua modernidade.
Through the colored laminated glass panels of the Pedro and Inês Pedestrian Bridge, erected over the Mondego River in 2006, a fragmented and unique perspective of Coimbra is observed. This structure, an integral part of the Polis Program, was conceived by engineer António Adão da Fonseca and architect Cecil Balmond, incorporating wooden walkways and glass side railings with irregular geometric shapes in shades of yellow, blue, green, and pink, which filter the light and modify the chromatic perception of the surroundings. The illusion of mismatched banks, united by a suspended central plaza, gives the bridge a technically innovative design. The framing provided by the glass allows distinguishing the Green Park and, in the background, the city's slope, dominated by the University of Coimbra, classified as a UNESCO World Heritage Site. The bridge, in addition to promoting pedestrian and cycling mobility between the banks, functions as an element of urban design, modulating light, transparency, and safety, and establishing a symbolic link between the city's historical past and its modernity.
O teto abobadado de uma ala do Palácio Real de Caserta, em Itália, projetado por Luigi Vanvitelli no século XVIII para os Bourbons de Nápoles, exemplifica a transição do Barroco tardio para o Neoclassicismo. Esta estrutura monumental, parte de um complexo que pretendia rivalizar com Versalhes, apresenta um design notavelmente simplificado em comparação com outras áreas do palácio. A decoração, caraterizada por linearidade e sobriedade, emprega caixotões geométricos (quadrados e losangos) dispostos em espiral e anéis concêntricos, culminando numa rosácea central. Molduras de mármore, baixos-relevos e elementos florais estilizados adornam o espaço, criando um efeito de cofragem concêntrica que realça a profundidade e a altura. A paleta clara, com tons de branco e cinza, acentua a luminosidade natural e a sensação de ordem, refletindo a busca neoclássica pela proporção e funcionalidade. O palácio, declarado Património Mundial da UNESCO em 1997, integra uma estética mais utilitária em algumas alas, demonstrando o domínio técnico de Vanvitelli na manipulação da forma e da luz.
The vaulted ceiling of a wing of the Royal Palace of Caserta in Italy, designed by Luigi Vanvitelli in the 18th century for the Bourbons of Naples, exemplifies the transition from late Baroque to Neoclassicism. This monumental structure, part of a complex intended to rival Versailles, features a remarkably simplified design compared to other areas of the palace. The decoration, characterized by linearity and sobriety, employs geometric coffers (squares and rhombuses) arranged in a spiral and concentric rings, culminating in a central rosette. Marble moldings, bas-reliefs, and stylized floral elements adorn the space, creating a concentric formwork effect that enhances depth and height. The light palette, with shades of white and gray, accentuates the natural light and sense of order, reflecting the Neoclassical quest for proportion and functionality. The palace, declared a UNESCO World Heritage Site in 1997, incorporates a more utilitarian aesthetic in some wings, demonstrating Vanvitelli's technical mastery in the manipulation of form and light.
Library Square in Downtown Vancouver is a multi-use complex that brings together the Vancouver Public Library’s Central Branch, a Federal Office Tower, and various retail and service spaces. Designed by Moshe Safdie, the library’s distinct curved architecture was inspired by the Colosseum in Rome.
This photo captures layered reflections of the surrounding high-rises on the building’s glass surfaces, creating a blended cityscape where indoor and outdoor spaces merge.
This is portion of a geometric wreath that hangs on my door. I wanted to capture the shadows as well.
Through careful composition of a modern building's facade, I created an abstract study in light and shadow. The crisp geometric forms cascade down the frame like a dark ribbon, while the precise lighting emphasizes the architectural rhythm.
While waiting for my flight at Istanbul International Airport, I found myself looking up and becoming mesmerized by the ceiling patterns above. The flowing curves and parallel lines created this almost hypnotic visual rhythm that I had to capture.
I decided to frame just this section where the curved panels meet and overlap, creating these interesting geometric interactions. The black and white treatment felt natural for this image - it emphasizes the graphic quality of the design and the contrast between the perforated sections and the solid white divisions.
What caught my eye was how something as functional as airport ceiling panels could be transformed into something so visually striking. These panels probably serve acoustic and ventilation purposes, but they've been designed with such attention to aesthetic detail.
I enjoy finding these moments of unexpected beauty in transit spaces - places we usually just pass through without really seeing. Sometimes the most interesting architectural photography happens when you simply remember to look up.
Square by Square
Square by square, a simple hockey net becomes a study in geometry. Captured on a frozen pond in winter, this close-up reveals the quiet rhythm of repeating lines and shapes — a familiar object transformed into pattern, structure, and stillness for the Geometric Shapes theme.
Geometry emerges from an ordinary wooden facade on Slottsfjellet in Tønsberg, Vestfold, Norway. Triangles, rectangles, parallel diagonals and strong vertical lines divide the architecture into a composition of contrasting shapes. The dark chimney becomes a central axis between the two sections, while windows of different proportions interrupt the rhythm of the timber cladding. Against the shifting autumn sky, functional architecture turns into a quiet study of lines, angles, repetition and form.
Fun fact: Geometry is everywhere in architecture: triangles provide strong visual direction, rectangles create order and repetition, and parallel lines can give a flat facade a surprising sense of depth.
Don't you just love spirals?
This image began with a capture of a spiral staircase in St John’s College, Cambridge, that I took a while ago. I wanted to convert it into a piece of graphic art using Affinity Photo, mainly on the iPad.
I know a few peeps are interested in the gory detail of my meanderings to produce this sort of thing. I’ll post a link to the original capture in the first comment. Having done some basic development of the image, I copied it three times. I stacked the four layers on top of each other, rotating each higher layer by a quarter of a turn compared to its underlying layer, and aligning them all so the octagonal skylight at the top overlaid nicely. I then changed the blend modes in the following order from the bottom: Normal, Subtract, Divide, and finally Dartken. I just tried various blend modes until I found something interesting.
I then adjusted the result using contrast and vibrance adjustment layers.
The rectangular blocks of colour at the edges are created by overlapping the two portrait-format layers over the landscape-oriented ones, rather than the scene itself. Normally, I would crop those out, but I liked the extra abstract feel they gave.
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And, just for fun, I asked ChatGPT to describe the image (I gave it a few cues). This was what it said:
"This artwork is a hypnotic blend of geometry and colour—a single staircase in a Cambridge college, reimagined through four overlapping perspectives. The spiralling architecture has been layered and rotated to create a kaleidoscopic vortex, where structural lines and shadows fragment into vibrant bands of orange, blue, green, and gold. At the core, the staircase’s symmetry pulls the eye inward, while the fractured overlays give the impression of motion, like a time-lapse of space folding in on itself. It’s both architectural study and abstract artwork—a familiar place transformed into something cosmic and otherworldly." [I adjusted the spelling to proper English ;)]
And then I asked it for something fun to think about:
"Alright, here’s something to chew on—half science, half philosophy:
Imagine the spiral staircase from your photo. When you stand at the bottom and look up, you see a pattern that feels infinite, drawing your gaze inward like a vortex. But in reality, it’s finite—it’s just steps stacked in a circle.
Now think about the universe. Physicists still don’t know if it’s infinite or finite. One theory says space might actually be curved back on itself, like the surface of a sphere in three dimensions. That means if you kept travelling in a straight line through space, you wouldn’t go out into infinity—you’d eventually loop back around to where you started, like climbing that staircase forever but always coming back to the same point.
So here’s the question:
If the universe is finite but unbounded, just like your staircase pattern, does “infinity” actually exist, or is it just the illusion of never reaching the end?"
So. There you go. Happy Sunday :)
Thanks for taking the time to look. I hope you enjoy the image. Happy Sliders Sunday :)
Este painel de azulejos de padrão geométrico-vegetalista, datado entre 1590 e 1620 e atualmente no Museu Nacional do Azulejo em Lisboa, é um exemplo da produção portuguesa do final do século XVI e início do XVII. Composto por módulos repetidos de motivos florais estilizados em azul sobre fundo branco, enquadrados por uma trama geométrica em amarelo ocre, o desenho reflete influências mudéjares e renascentistas, evidenciando a continuidade da tradição decorativa hispano-mourisca em Portugal. Os azulejos de padrão eram frequentemente utilizados no revestimento integral de paredes de igrejas e palácios, criando autênticos “tapetes” cerâmicos e desempenhando funções decorativas e simbólicas. A paleta cromática, limitada ao azul, amarelo e branco, é característica da produção portuguesa anterior à influência holandesa, afirmando-se como um elemento estruturante da arquitetura portuguesa e um testemunho da criatividade das olarias da época.
This panel of tiles with a geometric-vegetalist pattern, dated between 1590 and 1620 and currently in the National Tile Museum in Lisbon, is an example of Portuguese production of the late 16th and early 17th centuries. Composed of repeated modules of stylized floral motifs in blue on a white background, framed by a geometric pattern in ocher yellow, the design reflects Mudejar and Renaissance influences, showing the continuity of the Hispano-Moorish decorative tradition in Portugal. Patterned tiles were often used in the integral coating of church and palace walls, creating authentic ceramic “carpets” and performing decorative and symbolic functions. The chromatic palette, limited to blue, yellow and white, is characteristic of Portuguese production prior to the Dutch influence, establishing itself as a structuring element of Portuguese architecture and a testimony to the creativity of the potteries of the time.
A dramatic black and white architectural study of the historic David Dunlap Observatory dome in Richmond Hill, Ontario. The high-contrast monochrome tones emphasize the geometric patterns of the metallic panels, the symmetry of the structural walkways, and the prominent shutter mechanism designed to reveal the night sky. Framed by soft foliage, this imposing structure stands as a timeless monument to human curiosity and scientific exploration.
About:
The David Dunlap Observatory is an astronomical observatory site in Richmond Hill, Ontario, Canada. Established in 1935, it was owned and operated by the University of Toronto until 2008.
A striking study of central London architecture, where glass, bronze and steel combine in an intricate display of geometry, texture and reflection. The contrasting buildings reveal a rich variety of architectural forms, from expansive glazed curtain walls and finely divided window panels to solid bronze-toned cladding and bold structural lines.
The mirrored glass captures fragments of neighbouring buildings, drawing the surrounding skyline into the composition and transforming familiar urban structures into distorted patterns of light and shadow. Vertical mullions, horizontal transoms and intersecting lines create a strong geometric rhythm, while the warm bronze tones contrast beautifully with the cooler glass surfaces.
An exploration of contemporary architectural design, materials and the ever-changing visual character of the city.
This abstract image, taken during a morning walk along C. Ramon H. Jurado in Panama, showcases a complex play of diagonal metal lines and reflective surfaces. The geometric patterns and repetitive shapes create a compelling visual rhythm, offering a glance into the intricate beauty of urban design
A circular formation of silver canoes rests on perfectly still water, creating a flawless mirror reflection. The dark surface enhances the bright metallic tones and the geometric pattern, making the scene ideal for abstract, minimalist, and outdoor photography lovers.
Dusk over London — The Shard and London Bridge illuminated beneath the evening sky. A timeless view from the Sky Garden 🇬🇧
This is a harp shell, most confidently identified as Harpa species, family Harpidae. It is the shell of a marine gastropod rather than a bivalve: the image shows a coiled spire, successive whorls, and part of the aperture at the left. The tall, regularly spaced axial ribs and the alternating cream, amber, reddish-brown, and dark-brown markings are strongly characteristic of harp shells.
The crop does not contain enough diagnostic information to determine the species reliably. Harpa harpa, Harpa major, and Harpa articularis can have broadly similar ribbing and coloration. A species-level identification would require complete dorsal and apertural views, the shell's overall proportions and dimensions, a dependable rib count, details of the lip and columella, and preferably collection locality. The strongest defensible identification from this photograph is therefore Harpa sp.
Description
The photograph is an extreme close-up of a single shell, concentrating on the spire and the deeply sculptured outer surface. The low apex lies to the right of center, surrounded by successively widening whorls. Broad axial ribs rise sharply from the surface and sweep outward across the whorls, producing a repeating sequence of illuminated crests and narrow shadowed recesses.
Cream and pale-yellow areas alternate with amber, rust, burgundy, and dark chocolate-brown markings. Thin transverse bands cross the ribs, dividing them into irregular blocks and emphasizing the shell's underlying spiral growth. Fine parallel striations, small scratches, pale specks, slight surface wear, and variations in gloss are visible throughout.
The shell occupies most of the frame and extends beyond the top, right, and bottom edges. Part of the dark reddish aperture appears at the lower left, but most of the opening and the shell's complete outline remain outside the composition. A broad area of cool blue-black negative space balances the densely detailed shell on the left. Directional light from above and the right catches the rib crests, while the intervening shadows reveal their pronounced relief.
Discussion
The magnification changes the shell from a recognizable specimen into a nearly abstract construction. Its ribs resemble overlapping shingles, architectural buttresses, folded fabric, or a succession of geological terraces.
The spiral apex supplies a visual anchor, while the expanding ribs carry the eye outward toward the frame edges. Cropping the shell before its outline becomes legible removes an immediate sense of scale; the subject can appear either microscopic or monumental.
The image is organized around repetition with variation. Every rib follows the same basic structural rhythm, yet its color, wear, reflective sheen, and transverse markings differ.
That tension between biological order and individual irregularity gives the surface vitality. The pattern documents growth, but it also operates independently as color and geometry.
The warm ivory, amber, orange, and burgundy shell is set against a cool blue-gray background, creating strong warm-cool separation. Illuminated yellow crests seem to project forward, while the maroon recesses and nearly black aperture recede. The off-center spire prevents the composition from becoming diagrammatically symmetrical and gives the spiral a sense of continuing beyond the crop.
Rather than presenting the shell primarily as a taxonomic specimen, the photograph treats it as a landscape of accumulated structure. Fine abrasions, tiny particles, and variations in surface gloss prevent the object from appearing artificially perfect. They preserve a sense of material history and distinguish the shell's actual surface from a purely decorative pattern.
Technique
This is a 1,235-frame focus stack captured at 23-micron intervals. The stack contains 1,234 adjacent-frame intervals.
The complete sequence therefore spans approximately 28.38 mm of nominal focus-axis travel.
This figure describes the commanded focus or stage movement from the first frame to the last; it should not automatically be interpreted as 28.38 mm of usable subject depth, because optical geometry, magnification, overlap, and discarded frames can affect the final covered depth.
The supplied ZS PMax filename is consistent with processing in Zerene Stacker using the PMax method. PMax is well suited to a subject with abrupt relief and dense surface detail because it can retain the sharpest high-frequency information from many focal planes.
Here the stack keeps the apex, projecting ribs, recessed grooves, and much of the surrounding shell surface simultaneously resolved - far more depth than a single macro exposure would normally provide at comparable magnification.
That rendering also produces very strong microcontrast. Fine growth striations, scratches, dust, pale deposits, and reflective edge detail become unusually prominent. Some tiny bright specks and thread-like marks may be physical fibers or debris; isolated marks could also have been accentuated during stacking, but the photograph does not show a severe or dominant stacking failure.
The extensive frame count and small step size produce a highly continuous result across the shell's steep, overlapping relief.
This year the Flickr Friends Melbourne Group have decided to have a monthly challenge which is submitted on the 5th of every month. This month’s theme is “geometry”.
I had lots of ideas for this theme, and I took plenty of photos of things that were geometric. I had a whole array of details from the Art Deco style villas from the 1920s and 1930s in my neighbourhood that still have their original facades, fences and gates. I also photographed pieces of a beautiful Victorian Anglo-Indian occasional table that belonged to my Great Grandparents who acquired it whilst working in the diplomatic corps during the Raj. My intention had been to make collages of these photos, however once they were done, I really wasn’t satisfied with the result.
Then the solution hit me! Earlier this year I paid a call to Zetta Florence, which is a wonderful shop that specialises in beautifully made papers. Amongst the papers I had bought was a roll of hand stencilled paper featuring a geometric Art Deco fan pattern used quite commonly in the 1920s and 1930s. Unfurling it down my table it gave the crisp look I wanted for my submission for the theme! So you see, that sometimes the simplest ideas can offer a perfect geometric solution!
Art Deco is a European style that celebrated the exciting and dynamic aspects of the machine age. It was all about sleekness, sharp lines, and vivid decorative elements like fins, fans, speed lines, portal windows and low relief sculpture. There was also a drive towards the clean lines of geometry in design.
Geometry is the part of mathematics that studies the size, shapes, positions and dimensions of things. Squares, circles and triangles are some of the simplest shapes in flat geometry. Cubes, cylinders, cones and spheres are simple shapes in solid geometry.
Little wonders are all around us when you know where to look and how to capture them. This is why I love to be out for hours, staring at the sky.
In capturing this modern building, I was drawn to the striking geometry created by its angular corner. I positioned myself to emphasize the converging lines that lead the eye upward into darkness, creating a sense of ascension and limitlessness. Working in black and white was a deliberate choice to strip away distractions and focus purely on form, texture, and the interplay of light and shadow. The dark negative space surrounding the building isolates the structure and creates a dramatic stage for architectural elements to perform. I wanted to transform this functional structure into something abstract and contemplative—revealing the hidden rhythm in the repeating patterns of sun shades and windows that might otherwise go unnoticed. Through this image, I aimed to challenge perceptions of scale and perspective, making the familiar unfamiliar. By focusing on this single corner, I invite viewers to consider how fragments can sometimes tell more compelling stories than whole scenes, much like how a single architectural detail can embody the philosophy behind an entire design.
Este painel de azulejos hispano-árabes, em exposição no Museu Nacional do Azulejo, exemplifica a influência islâmica na cerâmica da Península Ibérica entre os séculos XV e XVI. Caracteriza-se pelos padrões geométricos e vegetais, ricos em detalhes e cores vibrantes, que demonstram a mestria técnica e o simbolismo cultural deste estilo.
A wide-angle view capturing the elegant modern arches of Putrajaya Mosque in Putrajaya against a dramatic sunset sky with reflective wet tiles.
Download the high-resolution version here:
www.istockphoto.com/photo/sunset-at-putra-mosque-gm228462...
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✔ High resolution file
While exploring La Grande Motte (LGM), I was immediately drawn to the striking geometric pattern of this building facade. The repeating white triangular shapes created a mesmerizing rhythm that begged to be photographed. What truly caught my eye, however, was the solitary palm plant, perfectly positioned within one of the triangular spaces - a rebellious organic element disrupting the strict geometric pattern. I chose to shoot in black and white to emphasize the strong contrast and clean lines, while the careful framing allowed me to create an almost abstract composition where architecture becomes pure geometry. The plant serves as both a point of focus and a gentle reminder of nature's persistent presence in our constructed environments. I waited for soft, even lighting to ensure the shadows would define rather than dominate the geometric shapes, resulting in this clean, graphic interpretation of modern architectural design.
The theme for week 4 is Geometric Shapes
We love geometric pattern wallpaper as we live in an Art Deco house. We've just finished restoring this room. I will use the same wallpaper design in a different colour on the next room we take on.
in the bustling parking lot of the mercadona supermarket in palmanova, a solitary figure crosses the zebra stripes, casting a stark silhouette against the glistening pavement. the harsh light of the mediterranean sun creates a dramatic interplay of shadows and highlights, turning the mundane act of crossing a street into a moment of abstract art. the figure’s shadow stretches and distorts, echoing the fleeting nature of our daily journeys. this image captures a transient moment, where light and dark dance together in an urban ballet, reminding us of the beauty hidden in everyday scenes.
Commissioned by Muhammad Hasan Khan and completed in 1797, the Khan’s Palace in Shaki is a remarkable example of Azerbaijani khanate architecture with strong Persianate influences. Its richly ornamented façade combines turquoise and ochre tilework, floral and hunting motifs, mirrored muqarnas, and intricate shebeke windows made from coloured glass and interlocking wood without nails or glue.
The palace reflects Shaki’s prosperity as a historic centre of silk production and Silk Road trade. The Historic Centre of Shaki with the Khan’s Palace was inscribed as a UNESCO World Heritage Site in 2019.
Architect: Traditionally attributed to Haji Zeynal Abdin of Shiraz; attribution uncertain
Commissioned by: Muhammad Hasan Khan
Year: 1797
Style: Azerbaijani khanate architecture with Persianate and Islamic decorative influences
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Using stark contrast and clean composition, I transformed this building detail into an abstract study of curved lines. The rhythmic pattern of white bands against black creates a sense of movement and flow, turning architecture into pure geometric poetry.
photo rights reserved by Ben
The eye is naturally drawn toward the central entrance of the Šarena Džamija, framed by white-painted columns and refined decorative details that give the wall a sense of harmony and balance. Above the doorway, calligraphic panels and ornamental elements create a calm, almost rhythmic order. The painted walls reveal floral motifs, geometric patterns, and subtle landscapes that gently balance one another. Soft daylight enters the space, highlighting warm tones and textures without overwhelming the interior. Everything feels carefully composed, with a natural sense of calm and proportion. On the pillars, small signs quietly remind visitors to remove their shoes and switch off mobile phones, inviting a moment of respect and stillness. Inside the Šarena Džamija, a richly decorated space unfolds where color, form, and symmetry come together. The mosque was originally built in the 15th century and later received its distinctive painted decoration. Despite its age, the space feels open and welcoming — a place where history, craftsmanship, and everyday life meet in quiet harmony.
Inside the Šarena Džamija in Tetovo, North Macedonia, color, light, and symmetry come together in a richly decorated interior. Built in the 15th century, the mosque remains a living place where history, craftsmanship, and daily life meet.
De blik wordt direct naar de centrale ingang geleid van de Šarena Džamija, omlijst door witgeschilderde zuilen en verfijnde schilderingen die de wand als een decoratief geheel laten aanvoelen. Boven de deuropening zorgen kalligrafische panelen en ornamenten voor een rustige, bijna ritmische ordening. De beschilderde wanden tonen bloemmotieven, geometrische patronen en subtiele landschappen die elkaar in evenwicht houden. Het daglicht valt zacht naar binnen en benadrukt de warme tinten en texturen, zonder de ruimte te overheersen. Alles oogt zorgvuldig opgebouwd, met een natuurlijke balans tussen decoratie en rust. Op de pilaren herinneren kleine symbolen bezoekers eraan hun schoenen uit te doen en hun mobiele telefoon uit te schakelen — een ingetogen uitnodiging tot respect en verstilling. Binnen in de Šarena Džamija ontvouwt zich zo een rijk gedecoreerde ruimte waarin kleur, vorm en symmetrie samenkomen. De moskee werd oorspronkelijk gebouwd in de 15e eeuw en kreeg later haar kenmerkende beschilderingen. Ondanks haar leeftijd voelt de ruimte open en toegankelijk — een plek waar geschiedenis, vakmanschap en dagelijks gebruik op een vanzelfsprekende manier samenkomen.