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John and Donald Parkinson's 1929 Bullocks Wilshire is the building that taught Los Angeles what Art Deco could be, and this side entrance is a quiet master class in why texture carries the style. The cast stone facade — a buff-toned terrazzo aggregate that imitates limestone but reads warmer in the late afternoon sun — is scored into massive ashlar blocks that frame the entry like a temple pylon. The black granite base grounds it. Everything else is surface incident.
The portal itself is where the building shows its hand. A coffered ceiling in green, terra cotta, and gold radiates a stylized sunburst — Mayan Revival by way of Hollywood, executed in painted plaster and meant to be read from a moving Packard, not a parked Tesla. The pendant lantern, copper gone soft with patina, hangs in front of a copper-framed transom that catches reflected sky and the silhouette of a streetlamp opposite. Flanking the door, two vertical bands of carved cast stone medallions — heraldic shields, geometric rosettes, stepped pyramidal motifs — give the eye somewhere to travel from foot to lintel.
The cracked sidewalk reads as an honest part of the picture. The building was decommissioned as a department store in 1993; Southwestern Law School has occupied it since. Decades of survival, etched in concrete.
Zenit B (USSR, 1969), Industar 50-2 lens. Kodak Pro 100, C41 (Lennart Westman), Epson V600, VueScan.
Working with the clean architectural elements, I composed this frame to emphasize the dynamic flow of parallel lines. The diagonal arrangement creates a sense of movement, while the contrast between light and dark surfaces adds depth to the geometric pattern.
Looking up at this Toulouse apartment building, I captured the mesmerizing geometry of its modernist architecture. The pink-washed facade, characteristic of the 'Ville Rose', creates a striking contrast with the blue sky, while the repetitive pattern of balconies and windows generates a dizzying perspective that challenges our spatial perception.
This is a huge construction crane reflecting off of a building in downtown Baton Rouge. There seems to be a LOT of construction going on there.
Red aloe flower spikes stand out against their green serrated leaves, their layered blooms forming bold, natural patterns. The contrast of color and texture highlights the plant’s sculptural form during its winter flowering.
bathed in the stark midday sun, the terrace of the penthouse in cala mayor reveals a carefully crafted play of light and shadow. angular shadows stretch across the clean, white tiles, cast by a metal railing that seems both delicate and deliberate in its design. beyond the geometric confinements, the mediterranean unfolds in boundless blue, dotted with the serene glide of sailboats. this is where the construction's rhythm slows, where workers pause in the silhouette of progress, gazing out to where the sea kisses the sky. each frame of the railing offers a different vignette of tranquility—a pause in the narrative of labor, a breath between the toils.
Some of the tiles for this staircase are of Spanish design. Others with distinctive Moorish-Islamic geometric patterns are from a Tunisian company.
20260525_152545
Focus stacking and monochrome toning transform a succulent bud into an abstract creature of light, shadow, and teeth.
As the oldest part of Lisbon (and the only neighbourhood still intact after the destruction of the 1755 earthquake), Alfama has the strongest roots in Portuguese culture and heritage.
Its winding streets act as a giant mosaic, pin-pricked with colorful tiles (called "Azulejo" - painted tin-glazed ceramic tilework) that paint a larger picture of the city. Houses are dressed up in geometric patterns, whilst intimate workshops prove the craft is still going strong.
The high still-point of the light maze is found in the central room. As we look up we are faced with a gorgeous mandala, reminiscent of the exquisite geometric patterns found in Islamic mosques.
Given the subject matter of H.P. Lovecraft's late collection of stories, "Necronomicon" seems like a reasonable title. If you're not familiar with Lovecraft's work, look him up. You find hours of entertaining reading there.
The Mesa, Santa Barbara, California.
Processed in ON1 Photos 10 Enhance and Effects (Dynamic Contrast and Texturizer filters).
In a wall between two shops along a public sidewalk, this is all I get of the garden behind it. I am intrigued. This is only blocks from my house so I walk by frequently. I was stimulated to revisit this place at various times of day by a challenge from my local photography group (Central Coast Photo Society) that included "windows to the world."
The fractal elegance of an agave, frozen in time—a testament to the mathematical beauty found in nature’s design.
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.
One of the things I love about my inner city neighbourhood is the fact that we have a wonderful diversity in beautiful architectural style of housing. Although housing from the mid 1800s exists in my area, over time it became more suburbanised, particularly with the arrival of the train and tram routes around the turn of the Twentieth Century, and then the extension of these as the Metroland of the 1920s and 30s sprung up. There are many streets that have heritage overlays on them. Therefore, there are some wonderful Art Deco style villas from the 1920s and 1930s that still have their original fences and gates.
This year the FFF+ Group have decided to have a weekly challenge called “Snap Happy”. A different theme chosen by a member of the group each week, and the image is to be posted on the Monday of the week.
This week the theme, “geometry” was chosen by GG, Greenstone Girl.
This low Art Deco brick wall with its triangular pinnacle and decorative brick panels and this cast iron gate with its geometric pattern seemed like perfect choices for the theme.
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.
Here's my shiny fidget spinner again reflecting an array of multicolor LED Christmas lights. In addition to spinning on its own axis, the little gizmo is sitting on a turntable at 45 RPM.
The only "post processing" done here is a complete blackening of the already-mostly black-blackground and a small brightness/contrast edit.
f/8, ISO400, 6 sec exp; 50mm.
[C7 7590]
Against a perfect blue sky, I composed this study of a modernist apartment building in Toulouse. The repetitive pattern of windows and balconies creates a geometric grid, while the vibrant turquoise adds a distinctly Mediterranean feel to the urban landscape.
This image looks at some attractive geometric detail on the front of a half-timbered cottage on Queen Mary's Drive, Port Sunlight. Each of Nos 16-22 was a four-bedroom residence. This detail on No. 22 is part of a bracket-supported double-jettied gable. The rather cobwebbed pegs visible on the black-painted wooden frames are part of the construction process. The buildings face the Lady Lever Art Gallery.
Designed by James Lomax-Simpson in 1912, and built the following year, it is one of the Domestic Revival (or Old English) designs found throughout the village for which he is best known. Educated at Liverpool University and the son of a friend of of William Lever, he became the head of Lever Brothers architecture department in 1910 and designed several buildings in Port Sunlight including the Bandstand (now demolished), the Residents' Club, the south wing of Lever House, the Duke of York Cottages and houses in Jubilee Crescent, King George's Drive and Windy Bank as well as those in Queen Mary's Drive.
He also designed factories built overseas for Lever Brothers and Unilever House in London (Unilever was created in 1929 when Lever Brothers merged with the Dutch company Margarine Union).
A vertical architectural study of the carillon tower at the Newcastle Civic Centre. This perspective captures the iconic copper-green lantern topped with seahorses, set against the soft colors of a Tyneside sunset. The composition emphasizes the repetitive geometry of the tower's square windows and the contrasting glass-curtain wall of the adjacent office block, celebrating the monumental modernist design of George Kenyon.
The afternoon sun floods through the glass-vaulted ceiling, casting sharp shadows and highlighting the rhythmic teal trusses of this 1835 Grade I listed landmark. The composition focuses on the repeating textures of the ironwork and the checkered flooring, celebrating the grand scale of Richard Grainger and John Dobson's architectural vision.
"Do you think Jaison is cute?"
--"Yes Jaison is dreamy. Jaison's tittle is huuuge omg. I am getting hungry for fried eggs."
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In downtown McKeesport, Pennsylvania, on July 1st, 2019, a building at the northeast corner of 5th Avenue and Blackberry Street.
Jaison's was a regional department store chain that was bought out by Charming Shoppes, Inc., the owner of Fashion Bug, in 1983.
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Getty Thesaurus of Geographic Names terms:
• Allegheny (county) (7013272)
• McKeesport (2090470)
Art & Architecture Thesaurus terms:
• abandoned buildings (300008055)
• department stores (300005344)
• façades (300002526)
• geometric patterns (300165213)
• handwriting (300252927)
• Mid-Century Modernist (300343610)
• orange yellow (300128002)
• personal names (300266386)
• shop signs (300211862)
• storefronts (300002533)
• tile (material) (300010676)
• white (color) (300129784)
Wikidata items:
• 1 July 2019 (Q57350260)
• Charming Shoppes (Q5086513)
• Jaison (Q6124288)
• July 1 (Q2700)
• July 2019 (Q47087600)
• Pittsburgh metropolitan area (Q7199458)
• Rust Belt (Q781973)
• tittle (Q13586558)
• Treaty of Fort Stanwix (Q246501)
• vacant building (Q56056305)
• Western Pennsylvania (Q7988152)
Library of Congress Subject Headings:
• Buildings—Pennsylvania (sh85017803)
• Business names (sh85018315)
• Geometry in architecture (sh00000156)
A fachada apresentada pertence ao Real Monasterio de Santa Clara de Tordesillas, fundado em 1363 pela infanta D. Beatriz, filha do rei Pedro I de Castela, que ali instituiu um convento de clarissas. O edifício foi originalmente construído como palácio régio desenvolvido nas épocas de Afonso XI e Pedro I de Castela, sobre estruturas anteriores de origem islâmica, o que explica a marcante presença de elementos mudéjares na sua arquitetura. A janela geminada exibe arcos polilobulados característicos da arte islâmica peninsular, enquadrados por uma elaborada composição de sebka — padrão geométrico de losangos entrelaçados típico da arquitetura almóada. O alfiz que emoldura o conjunto e a banda epigráfica inferior, possivelmente com inscrições em árabe ou pseudo-árabe, reforçam a herança andaluza. A porta de madeira com cravos metálicos segue a tradição construtiva ibérica medieval. Este sincretismo artístico inscreve-se no fenómeno mudéjar, um estilo exclusivamente ibérico que combina formas cristãs com técnicas e motivos islâmicos, desenvolvido graças ao trabalho de artesãos muçulmanos ao serviço de mecenas cristãos, e exemplificado por vários conjuntos de arquitetura mudéjar inscritos na lista do Património Mundial da UNESCO.
The façade shown belongs to the Royal Monastery of Santa Clara de Tordesillas, founded in 1363 by Infanta Beatriz, daughter of King Pedro I of Castile, who established a convent of Poor Clares there. The building was originally constructed as a royal palace during the reigns of Alfonso XI and Pedro I of Castile, on top of earlier structures of Islamic origin, which explains the striking presence of Mudejar elements in its architecture. The mullioned window features poly-lobed arches characteristic of peninsular Islamic art, framed by an elaborate sebka composition—a geometric pattern of interlaced lozenges typical of Almohad architecture. The alfiz framing the ensemble and the lower epigraphic band, possibly with inscriptions in Arabic or pseudo-Arabic, reinforce the Andalusian heritage. The wooden door with metal nails follows the medieval Iberian building tradition. This artistic syncretism is part of the Mudejar phenomenon, an exclusively Iberian style that combines Christian forms with Islamic techniques and motifs, developed thanks to the work of Muslim craftsmen in the service of Christian patrons, and exemplified by several examples of Mudejar architecture included in the UNESCO World Heritage List.
Captured by drone over Jarlsø in Tønsberg, this modern waterfront high-rise catches the last warm sunlight of the day while the surrounding fjord remains calm and cold. The still water turns the building into a near-perfect mirror, adding a quiet symmetry to the coastal landscape where urban development meets the Oslofjord shoreline.
Fun fact: Jarlsø was historically an island with industrial activity, but in recent decades it has been transformed into a residential waterfront area connected to the mainland by fill and bridges.
Reflections, lines, geometric shapes and patterns in the facades at 6th Ave and 43rd Street, NYC
[GX85-1080037 PScc]
A mirrored art installation at the Palm Springs Art Museum becomes an abstract world of repeating reflections. By converting the image to monochrome and removing the surrounding distractions, only the exhibit’s hidden infinity pattern remains
An abstract architectural study of the Newcastle Civic Centre. This composition focuses on the rhythmic brickwork of the facade, using the glass window panes as mirrors to capture the iconic copper-green seahorse carillon tower and the curved lines of the surrounding complex. It highlights the interplay between the modernist grid and the symbolic landmarks of the city.
RAW Conversion only. Colours as shot. No Photoshop processing.
Copyright © 2010 Jacqueline Stewart Brown. All rights reserved. Photos may not be reproduced without the permission of Jacqueline Stewart Brown.
Looking up inside Galleria Sciarra in Rome reveals a unique fusion of architecture, decoration, and light. The glass ceiling opens a view to the sky, filtering daylight onto the richly painted walls and intricate details of the gallery. Standing at the center and gazing upward, geometry and ornament meet, creating a striking sense of depth and harmony.