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The work is primarily trying to determine a ratio between denudation and uplift so better estimates can be made on changes in the landscape. In 2016 and 2019, research that attempted to apply denudation rates to improve the stream power law so it can be used more effectively was conducted.
A discordant system or pattern does not correlate to the topography and geology of the area. Discordant drainage patterns are classified into two main types: antecedent and superimposed, [2] while ante position drainage patterns combine the two. In antecedent drainage, a river's vertical incision ability matches that of land uplift due to ...
The meander is a fundamental design motif in regions far from a Hellenic orbit: labyrinthine meanders ("thunder" pattern [3]) appear in bands and as infill on Shang bronzes (c. 1600 BC – c. 1045 BC), and many traditional buildings in and around China still bear geometric designs almost identical to meanders.
On the exterior, Middle Eastern motifs were carried out in colored brick, slate, ceramic tile and especially stenciling. The cornices of the separate sections of the structure were each ornamented with multi-colored and gilt stenciling, the patterns designed by Church himself. The stenciling continued in the principle rooms of the first floor.
Image credits: Detroit Photograph Company "There was a two-color process invented around 1913 by Kodak that used two glass plates in contact with each other, one being red-orange and the other ...
A Pythagorean tiling Street Musicians at the Door, Jacob Ochtervelt, 1665.As observed by Nelsen [1] the floor tiles in this painting are set in the Pythagorean tiling. A Pythagorean tiling or two squares tessellation is a tiling of a Euclidean plane by squares of two different sizes, in which each square touches four squares of the other size on its four sides.
The carpet seen on Vermeer's The Music Lesson, Girl Reading a Letter at an Open Window, and The Concert hardly show any differences in the details of the design or the weaving structure indicate that all three pictures might trace back to one single carpet Vermeer might have had at his studio. The paintings by Vermeer, Steen, and Verkolje ...
The equally magnificent cloisters of the Lateran, of about the same date, are very similar in design; both these triumphs of the sculptor-architects and mosaicists work have slender marble columns, twisted or straight, richly inlaid with bands of glass mosaic in delicate and brilliant patterns. [1]
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