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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
An interior view of a traditional Tunisian building, possibly a museum or historic home, featuring a two-story courtyard with intricate carved wooden mashrabiya screens and balconies. A man stands on the upper level.
Construction on this grand mosque began in 876 AD and was completed in 879 AD by Ahmad ibn Tulun, the Abbasid governor of Egypt. Its design was inspired by the Abbasid architecture prevalent in Samarra, Iraq, at the time. Notably, it's the largest mosque in Cairo in terms of land area and is admired for its unique minaret featuring an external spiral staircase. The Mosque of Ibn Tulun is considered one of the most significant examples of Abbasid architectural style in Egypt and largely retains its original form.
A vibrant, radial burst of colored fluorescent tubes—yellow, blue, pink, and orange—radiates from a central point behind a shop window, creating a dazzling sunburst effect. Reflected in the glass is a mannequin dressed in a black sequined skirt and a red-and-black plaid shirt, adding a touch of urban fashion to the abstract, geometric light display. The interplay of artificial neon and natural daylight creates a dynamic, almost surreal composition that blends commercial display with artistic abstraction.
An open book displays intricate white line drawings on dark gray pages, featuring abstract geometric patterns that resemble flowing ribbons and concentric loops. The artwork utilizes a high-contrast black and white palette with fine, precise lines creating a sense of depth and movement against the matte paper texture. Soft shadows cast by the book onto the reddish-brown wooden surface suggest a calm, focused atmosphere.
A close-up, low-angle shot captures the glistening, rain-slicked pavement of a city street at night. The dark, textured tiles are illuminated by ambient light, creating a moody, atmospheric scene with deep red and grey tones and subtle reflections of nearby lights and signage. The composition emphasizes the geometric pattern of the pavement and the wet sheen that transforms an ordinary sidewalk into a canvas of urban texture and color.
2012 Fashion , geometric fashion , designer , designer canada , geometric patterns , 2012 designer fashion , 2012 designer shoes , designer shoes 2012 , shoes 2012 , geometric clothing , geometric designs , hot , new , 2012 , street style , toronto designer , designer shoes , geometric hoodies , style canada , deco , decor , modern geometric , 2012FASHION , CANADIAN DESIGNER , 2012 FASHION , CANADIAN FASHION , UNVERSAL FASHION , GEOMERIC SYMBOLS ,
Deep shadows and brilliant highlights dance across the ancient, uneven cobblestones of the Argentine Northwest in this striking monochrome portrait. An indigenous figure sits in quiet concentration, their silhouette defined by a traditional flat-brimmed black hat and the heavy drape of a geometric woven sweater. The intricate checkerboard patterns of the textile speak to centuries of Andean weaving heritage, a staple of cultural identity in remote villages like Iruya. Dappled sunlight filters from above, creating a dramatic, high-contrast chiaroscuro effect that obscures the subject's facial features while emphasizing the deep textures of their clothing and the surrounding stones. Their weathered hands are caught mid-motion, delicately handling what appear to be silver spoons or small tools, suggesting a moment of daily labor or artisanship. The stark black-and-white treatment strips away the distractions of color, focusing the viewer's attention entirely on the timeless interplay of light, form, and cultural endurance. A shallow depth of field softly blurs the distant ground, isolating the seated figure within their pocket of deep shadow. Long, thick braids cascade down the subject's back, a quintessential hallmark of the Quechua or Aymara descent prevalent in this high-altitude region. The quiet dignity of the scene captures the slow, deliberate pace of life in the remote valleys of Salta and Jujuy. It is an intimate, compelling moment that bridges the gap between the modern observer and the enduring ancestral traditions of Norte Argentino. This image is a collaborative production by Samuel Jeffery and Audrey Bergner for Project 23.
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Profundas sombras y brillantes reflejos danzan sobre los antiguos e irregulares adoquines del Noroeste Argentino en este impactante retrato monocromático. Una figura indígena se sienta en silenciosa concentración, su silueta definida por un tradicional sombrero negro de ala plana y la pesada caída de un suéter tejido con motivos geométricos. Los intrincados patrones de tablero de ajedrez del textil hablan de siglos de herencia tejedora andina, un elemento básico de la identidad cultural en pueblos remotos como Iruya. La luz del sol moteada se filtra desde arriba, creando un efecto de claroscuro dramático y de alto contraste que oculta los rasgos faciales del sujeto mientras enfatiza las texturas profundas de su ropa y las piedras circundantes. Sus manos curtidas son capturadas en pleno movimiento, manejando delicadamente lo que parecen ser cucharas de plata o pequeñas herramientas, sugiriendo un momento de labor diaria o artesanía. El austero tratamiento en blanco y negro elimina las distracciones del color, enfocando la atención del espectador por completo en la interacción atemporal de la luz, la forma y la resistencia cultural. Una profundidad de campo reducida desenfoca suavemente el suelo distante, aislando a la figura sentada dentro de su bolsillo de sombra profunda. Largas y gruesas trenzas caen por la espalda del sujeto, un sello distintivo por excelencia de la ascendencia quechua o aymara predominante en esta región de gran altitud. La silenciosa dignidad de la escena captura el ritmo de vida lento y deliberado en los valles remotos de Salta y Jujuy. Es un momento íntimo y cautivador que cierra la brecha entre el observador moderno y las perdurables tradiciones ancestrales del Norte Argentino. 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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This is a seriously "messed" with shot of the skylight above the SF Public Library's atrium. I used the free image editor at FotoFlexer.com, which offers a "collage" feature. (Note: For that to work well, images must be cropped to a perfect square. Much fun!
A moody, close-up shot of blue diamond plate metal, bathed in cool, ambient light with a bright, out-of-focus neon tube in the corner. The repeating geometric pattern creates a hypnotic, industrial texture, while the shallow depth of field and saturated blue tones evoke a futuristic or underwater atmosphere.
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.
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