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Drying your clothes outside is not allowed
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O painel de azulejos de padrão camélia, datado de 1660-1680 e proveniente do Convento de Nossa Senhora da Esperança, em Lisboa, integra a coleção do Museu Nacional do Azulejo. Este padrão modular, catalogado por Santos Simões, apresenta motivos florais estilizados, com camélias ou peónias centrais, rodeadas por elementos vegetalistas e volutas. A paleta policromática, com predominância do azul, amarelo e verde sobre fundo branco, reflete a influência da porcelana chinesa e da cerâmica italiana renascentista, adaptada à tradição portuguesa. Este exemplar ilustra o papel estruturante da azulejaria na arquitetura do século XVII, nomeadamente em edifícios religiosos, e representa a produção azulejar lisboeta anterior à popularização do azul e branco, demonstrando a criatividade dos ceramistas portugueses na fusão de influências e na afirmação de uma identidade própria.
The camellia pattern tile panel, dating from 1660-1680 and from the Convent of Nossa Senhora da Esperança in Lisbon, is part of the National Tile Museum's collection. This modular pattern, catalogued by Santos Simões, features stylized floral motifs, with central camellias or peonies, surrounded by plant elements and volutes. The polychromatic palette, with a predominance of blue, yellow and green on a white background, reflects the influence of Chinese porcelain and Italian Renaissance ceramics, adapted to the Portuguese tradition. This example illustrates the structuring role of tiles in 17th century architecture, particularly in religious buildings, and represents Lisbon's tile production prior to the popularization of blue and white, demonstrating the creativity of Portuguese ceramists in fusing influences and asserting their own identity.
The façade folds gently toward the lens, a study in rhythm, geometry, and modern living. Window by window, the building negotiates light, shadow, and repetition—never identical, always in quiet dialogue. The monochrome treatment reduces everything to form and contrast, revealing how architecture becomes a language of balance and tension. Here, the rectangles lean, tilt, and reshape themselves, inviting the question: are we square, or simply pretending to be?
Fun fact: The phrase “Are we square?” originated from early 20th‑century English slang meaning even, balanced, or settled. Its connection to geometry comes from the idea that a square has equal sides—symbolizing fairness and equilibrium.
Apart from the fact that this building has 16 gables - how often do you see that? - there's little on first sight to recommend this structure as worthy of any particular interest. However, Historic England gave it Grade II* listed status in 1999.
The building was designed in 1771 by the Navy Board and is an early example of modular design as structures of this design quickly appeared in numbers in all of the naval dockyards.
The structure consists of a single-storey weather-boarded timber frame built on a brick plinth with a corrugated asbestos roof. The building is 200 feet long and 45 feet deep.
There are double doors in each of the gables, all being louvred above. At the ends are louvred sides with five metal-framed windows. Inside, there are three bays deep with bracketed posts, with racks for stacking sawn timber, and timber trusses.
The seasoning sheds were introduced by order of John Montagu, the fourth Earl of Sandwich during his third (!) period as First Lord of the Admiralty (political head of the Royal Navy). The reason for the introduction of the stores was because of the longstanding problem of using green timber in the Navy's ships, which were then subsequently incurring massive expenditures on maintenance.
With the move to ironclads in the mid-1800s, the stores became obsolete by 1860 and subsequently most were demolished. This is the only 16-gable example to survive today. Next door to it (off to the right of image) is a 9-gable version which is also the only example of its type to survive as well - it too now has listed status.
Striking in its brutalist simplicity and preserved industrial texture, this photograph captures a significant section of a historic warehouse facade at San Francisco’s Pier 70. Unlike the previous night-time images, this view is bathed in harsh, midday sunlight, which accentuates the raw, weathered materials and the geometry of the structure. The composition is highly symmetrical, emphasizing the sheer scale and uniformity of the building.
The lower third of the building is a formidable foundation of red brick, showing age and endurance, topped by a wide band of clean, pale-colored paneling. Above this base are the two primary floors of the warehouse, dominated by repeating modules of grid-paned windows. These windows are vast, stretching almost the full width of the wall, allowing immense amounts of light into the factory interior, which remains mostly obscured by glare and dust. The glass is often broken or missing in places, revealing the interior structure and hints of brickwork beyond.
The sections between the windows are clad in corrugated metal siding, likely steel, which is heavily weathered and rusted to a warm, earthy patina. The vertical lines of the siding create a strong visual contrast with the horizontal lines of the brick base and the window sills. In the foreground, the urban environment of the pier is evident: a clean concrete sidewalk and curb line an empty street. A bright red stop sign on a pole stands prominently on the left, a modern marker against the massive, historic backdrop. The strong shadows cast by the midday sun reinforce the relief and texture of the brickwork and the corrugation. This image is a celebration of utility, labor, and the architectural remnants of San Francisco's pre-tech, working-class history along its waterfront.
Nice to see idea of interchangeable front area/section getting implemented in a set too. It is a simple way of changing car's character.
Built 1996 Architect - Ben Kutner .... in Modular Modernist style .... One of Toronto's most unusual, quirky & eclectic houses ....
In the 19th and early 20th centuries, Sydney, Australia, developed an extensive tram network, which grew to be the country's largest and one of the largest in the world. However, the increasing rate of private car ownership and the perception that trams contributed to traffic congestion led to the progressive replacement of tram services with buses, with the final section of the tram network closing in February 1961.
In the 1980s and 1990s, the inner city areas of Darling Harbour and Pyrmont were the subject of an urban renewal programme, which featured the Sydney Monorail connecting Darling Harbour to the central business district. However, with poor integration between the monorail and other transport modes, and the increasing redevelopment of the Pyrmont peninsula, a decision was made to convert a disused section of the Metropolitan Goods railway line into a light rail line. It opened in August 1997, running between Central Station and Wentworth Park, Pyrmont.
The network's original rolling stock was the Variotram (above) which was introduced with the opening of the first section of the Inner West Light Rail in 1997. Seven German-designed vehicles were manufactured in Dandenong, Victoria by Adtranz. The tram's design is modular and it was extended for the Sydney system. The capacity of the vehicles was 217 passengers, of which 74 were seated. On tests, up to three trams were coupled together allowing a maximum capacity of 600 passengers if required. They were numbered 2101–2107, continuing the Sydney trams sequence that finished at 2087 with the last Sydney R1-Class tram in the 1960s. The last Variotram was withdrawn from service after operating overnight between Central and The Star on 27/28 May 2015.
The current 12.8-km line with 23 stations, known as the Dulwich Hill Line, is now served by Urbos 3 trams. In 2016-17 10 million passenger journeys were made.
Today, a second line, the CBD and South East Light Rail, is under construction and will be completed in 2019. A light rail network serving Western Sydney called Parramatta Light Rail has also been announced.
Seen on Hay Street, from the edge of Belmore Park, close to the end of its run at Central Station.
Folded from 8 sheets of shaded, single side colored Kami paper, this design by ilan Garibi is simple to fold. For more details visit: Origamiancy.com
Diagrams: Origami-USA's Issue 6 of The Fold
Sarah ORTMEYER pays homage to the universal symbol and the iconographic myth that is the Eiffel Tower and the structure’s often-forgotten original engineer, Maurice Koechlin. VITRINE MAURICE (2011) consists of a series of objects and furnishings – all taken from an undisclosed room – which have been laid out in similar fashion to the ‘Collection Yves Saint Laurent et Pierre Bergé’ auction in 2009. The items comprise a range of tacit motifs and abstract invocations of the Eiffel Tower’s singularly monumental shape and history. This icon of Paris and cypher of modernity appears through a series of triangular objects, patterns, formal echoes, and refrains that one could barely track in the original room. They include the DKR2 – Charles Eames’ ‘Eiffel Tower’ chair (which mimics its namesake with a darkly colored base and lightly bronzed top), as well fabric and carpet motifs. Despite Gustave Eiffel’s defense of the Tower as a utilitarian object, its glamorous uselessness has proved irresistible to the imagination and ensures that, as Roland Barthes once put it, “the Tower attracts meaning the way a lightning rod attracts thunderbolts”.
Photo: Philippe de Goubert
Modular Custom exhibit, inspired by Tron. Designed for work on a variety of stand sizes at multiple pharmaceutical trade shows
Maria LOBODA presents two printed fabrics inspired by the designs of Sonia Delaunay, Lotte Frömmel-Fochler, Mitzi Friedmann-Otten, and others – or to be more precise, triggered by written descriptions of their geometric textiles. Loboda consulted published texts which try to describe and communicate the energy of these Wiener Werkstätte and Art Déco patterns in words – “vigorous angular forms and overall jagged feel”, “curving arabesques and energetic zig-zigs”, “vaguely explosive motifs”, for example – and then attempted to recreate the designs from what these phrases suggested to her, alongside her memory of such patterns. The artist is fascinated by the nervous, violent and dynamic energy of the interior decoration associated with the early-20th-Century avant-garde and how it tried to create a psychological state of electric action for the modern home and its inhabitants. The accompanying slideshow Il Lavoro (The Art of Memory) (2010) plays with continuity errors in cinema and is based on a film still from the short film Il Lavoro (1962) by Luchino Visconti. A woman is seen posing next to an open book with changing illustrations of Sonia Delaunay’s geometric designs.
Photo: Philippe de Gobert
Maria LOBODA presents two printed fabrics inspired by the designs of Sonia Delaunay, Lotte Frömmel-Fochler, Mitzi Friedmann-Otten, and others – or to be more precise, triggered by written descriptions of their geometric textiles. Loboda consulted published texts which try to describe and communicate the energy of these Wiener Werkstätte and Art Déco patterns in words – “vigorous angular forms and overall jagged feel”, “curving arabesques and energetic zig-zigs”, “vaguely explosive motifs”, for example – and then attempted to recreate the designs from what these phrases suggested to her, alongside her memory of such patterns. The artist is fascinated by the nervous, violent and dynamic energy of the interior decoration associated with the early-20th-Century avant-garde and how it tried to create a psychological state of electric action for the modern home and its inhabitants. The accompanying slideshow Il Lavoro (The Art of Memory) (2010) plays with continuity errors in cinema and is based on a film still from the short film Il Lavoro (1962) by Luchino Visconti. A woman is seen posing next to an open book with changing illustrations of Sonia Delaunay’s geometric designs.
Maria LOBODA presents two printed fabrics inspired by the designs of Sonia Delaunay, Lotte Frömmel-Fochler, Mitzi Friedmann-Otten, and others – or to be more precise, triggered by written descriptions of their geometric textiles. Loboda consulted published texts which try to describe and communicate the energy of these Wiener Werkstätte and Art Déco patterns in words – “vigorous angular forms and overall jagged feel”, “curving arabesques and energetic zig-zigs”, “vaguely explosive motifs”, for example – and then attempted to recreate the designs from what these phrases suggested to her, alongside her memory of such patterns. The artist is fascinated by the nervous, violent and dynamic energy of the interior decoration associated with the early-20th-Century avant-garde and how it tried to create a psychological state of electric action for the modern home and its inhabitants. The accompanying slideshow Il Lavoro (The Art of Memory) (2010) plays with continuity errors in cinema and is based on a film still from the short film Il Lavoro (1962) by Luchino Visconti. A woman is seen posing next to an open book with changing illustrations of Sonia Delaunay’s geometric designs.
Modular Custom exhibit, inspired by Tron. Designed for work on a variety of stand sizes at multiple pharmaceutical trade shows
During the early 1960s in Mataró, Spain, Joaquim Anson (the father of artist Martí ANSON) developed a range of furniture inspired by modern designs with the aim of offering an affordable and fashionable custom-made range for a growing Catalan middle class who could not afford the ‘real’ objects. Yet Anson did not consider himself a designer and he worked inconspicuously providing functional and versatile solutions for his family, friends and clients. His design repertoire included lounge chairs, occasional tables, modular shelves, high chairs, and even toys, and was mostly produced in the light wood known locally as flanda (Flanders pine). Yet Anson stopped producing a decade later as he felt the initiative had become too commercially oriented and that the close relationship with his customers had began to wane. Forty years on, Martí Anson has undertaken extensive research to recuperate this social service project of his father (who kept little documentation of his work) and has begun to produce furniture again under the company name JOAQUIMANDSON. This is the rediscovered designs’ first public exhibition; a range of new prototypes is presented alongside a 1960s lamp by Catalan designer Miguel Milà which has been lent for the occasion, and posters documenting the history of the furniture company.
Modular Custom exhibit, inspired by Tron. Designed for work on a variety of stand sizes at multiple pharmaceutical trade shows
During the early 1960s in Mataró, Spain, Joaquim Anson (the father of artist Martí ANSON) developed a range of furniture inspired by modern designs with the aim of offering an affordable and fashionable custom-made range for a growing Catalan middle class who could not afford the ‘real’ objects. Yet Anson did not consider himself a designer and he worked inconspicuously providing functional and versatile solutions for his family, friends and clients. His design repertoire included lounge chairs, occasional tables, modular shelves, high chairs, and even toys, and was mostly produced in the light wood known locally as flanda (Flanders pine). Yet Anson stopped producing a decade later as he felt the initiative had become too commercially oriented and that the close relationship with his customers had began to wane. Forty years on, Martí Anson has undertaken extensive research to recuperate this social service project of his father (who kept little documentation of his work) and has begun to produce furniture again under the company name JOAQUIMANDSON. This is the rediscovered designs’ first public exhibition; a range of new prototypes is presented alongside a 1960s lamp by Catalan designer Miguel Milà which has been lent for the occasion, and posters documenting the history of the furniture company.
Photo: Philippe de Gobert
Modular Custom exhibit, inspired by Tron. Designed for work on a variety of stand sizes at multiple pharmaceutical trade shows
Kasper AKHØJ presents a slideshow which comprises the latest chapter in his ongoing research into the display system Abstracta, originally designed by the Danish architect and designer Poul Cadovious in the 1960s for a world’s fair. Comprising bright welded steel tubing with star-shaped joints commonly supporting glass or wooden panels, the modules were first encountered by Akhøj in department stores and museums in the former Yugoslavia. His subsequent investigations follow the traces of its imitation and mass production in China in the 1970s, its subsequent local manufacture across communist Eastern Europe, its recent patenting by a U.S. trade show systems company, its presence in the collection of MoMA, New York, as well as an encounter with Abstracta’s now elderly designer who was unaware of the ideological adult life of his creation. In Akhøj’s (or rather, ‘Abstracta’’s) travelogue, what appears to be a purely practical system, conceived with reproducibility, easy assembly and storage, and seemingly endless geometric expansion in mind, finds itself forming the shapes of an intriguing and elegantly obsessive narrative.
Sarah ORTMEYER pays homage to the universal symbol and the iconographic myth that is the Eiffel Tower and the structure’s often-forgotten original engineer, Maurice Koechlin. VITRINE MAURICE (2011) consists of a series of objects and furnishings – all taken from an undisclosed room – which have been laid out in similar fashion to the ‘Collection Yves Saint Laurent et Pierre Bergé’ auction in 2009. The items comprise a range of tacit motifs and abstract invocations of the Eiffel Tower’s singularly monumental shape and history. This icon of Paris and cypher of modernity appears through a series of triangular objects, patterns, formal echoes, and refrains that one could barely track in the original room. They include the DKR2 – Charles Eames’ ‘Eiffel Tower’ chair (which mimics its namesake with a darkly colored base and lightly bronzed top), as well fabric and carpet motifs. Despite Gustave Eiffel’s defense of the Tower as a utilitarian object, its glamorous uselessness has proved irresistible to the imagination and ensures that, as Roland Barthes once put it, “the Tower attracts meaning the way a lightning rod attracts thunderbolts”.
Photo: Philippe de Gobert
During the early 1960s in Mataró, Spain, Joaquim Anson (the father of artist Martí ANSON) developed a range of furniture inspired by modern designs with the aim of offering an affordable and fashionable custom-made range for a growing Catalan middle class who could not afford the ‘real’ objects. Yet Anson did not consider himself a designer and he worked inconspicuously providing functional and versatile solutions for his family, friends and clients. His design repertoire included lounge chairs, occasional tables, modular shelves, high chairs, and even toys, and was mostly produced in the light wood known locally as flanda (Flanders pine). Yet Anson stopped producing a decade later as he felt the initiative had become too commercially oriented and that the close relationship with his customers had began to wane. Forty years on, Martí Anson has undertaken extensive research to recuperate this social service project of his father (who kept little documentation of his work) and has begun to produce furniture again under the company name JOAQUIMANDSON. This is the rediscovered designs’ first public exhibition; a range of new prototypes is presented alongside a 1960s lamp by Catalan designer Miguel Milà which has been lent for the occasion, and posters documenting the history of the furniture company.
Kasper AKHØJ presents a slideshow which comprises the latest chapter in his ongoing research into the display system Abstracta, originally designed by the Danish architect and designer Poul Cadovious in the 1960s for a world’s fair. Comprising bright welded steel tubing with star-shaped joints commonly supporting glass or wooden panels, the modules were first encountered by Akhøj in department stores and museums in the former Yugoslavia. His subsequent investigations follow the traces of its imitation and mass production in China in the 1970s, its subsequent local manufacture across communist Eastern Europe, its recent patenting by a U.S. trade show systems company, its presence in the collection of MoMA, New York, as well as an encounter with Abstracta’s now elderly designer who was unaware of the ideological adult life of his creation. In Akhøj’s (or rather, ‘Abstracta’’s) travelogue, what appears to be a purely practical system, conceived with reproducibility, easy assembly and storage, and seemingly endless geometric expansion in mind, finds itself forming the shapes of an intriguing and elegantly obsessive narrative.
Photo: Philippe de Gobert
Modular Custom exhibit, inspired by Tron. Designed for work on a variety of stand sizes at multiple pharmaceutical trade shows
Modular Custom exhibit, inspired by Tron. Designed for work on a variety of stand sizes at multiple pharmaceutical trade shows
Sarah ORTMEYER pays homage to the universal symbol and the iconographic myth that is the Eiffel Tower and the structure’s often-forgotten original engineer, Maurice Koechlin. VITRINE MAURICE (2011) consists of a series of objects and furnishings – all taken from an undisclosed room – which have been laid out in similar fashion to the ‘Collection Yves Saint Laurent et Pierre Bergé’ auction in 2009. The items comprise a range of tacit motifs and abstract invocations of the Eiffel Tower’s singularly monumental shape and history. This icon of Paris and cypher of modernity appears through a series of triangular objects, patterns, formal echoes, and refrains that one could barely track in the original room. They include the DKR2 – Charles Eames’ ‘Eiffel Tower’ chair (which mimics its namesake with a darkly colored base and lightly bronzed top), as well fabric and carpet motifs. Despite Gustave Eiffel’s defense of the Tower as a utilitarian object, its glamorous uselessness has proved irresistible to the imagination and ensures that, as Roland Barthes once put it, “the Tower attracts meaning the way a lightning rod attracts thunderbolts”.
Sarah ORTMEYER pays homage to the universal symbol and the iconographic myth that is the Eiffel Tower and the structure’s often-forgotten original engineer, Maurice Koechlin. VITRINE MAURICE (2011) consists of a series of objects and furnishings – all taken from an undisclosed room – which have been laid out in similar fashion to the ‘Collection Yves Saint Laurent et Pierre Bergé’ auction in 2009. The items comprise a range of tacit motifs and abstract invocations of the Eiffel Tower’s singularly monumental shape and history. This icon of Paris and cypher of modernity appears through a series of triangular objects, patterns, formal echoes, and refrains that one could barely track in the original room. They include the DKR2 – Charles Eames’ ‘Eiffel Tower’ chair (which mimics its namesake with a darkly colored base and lightly bronzed top), as well fabric and carpet motifs. Despite Gustave Eiffel’s defense of the Tower as a utilitarian object, its glamorous uselessness has proved irresistible to the imagination and ensures that, as Roland Barthes once put it, “the Tower attracts meaning the way a lightning rod attracts thunderbolts”.
Sarah ORTMEYER pays homage to the universal symbol and the iconographic myth that is the Eiffel Tower and the structure’s often-forgotten original engineer, Maurice Koechlin. VITRINE MAURICE (2011) consists of a series of objects and furnishings – all taken from an undisclosed room – which have been laid out in similar fashion to the ‘Collection Yves Saint Laurent et Pierre Bergé’ auction in 2009. The items comprise a range of tacit motifs and abstract invocations of the Eiffel Tower’s singularly monumental shape and history. This icon of Paris and cypher of modernity appears through a series of triangular objects, patterns, formal echoes, and refrains that one could barely track in the original room. They include the DKR2 – Charles Eames’ ‘Eiffel Tower’ chair (which mimics its namesake with a darkly colored base and lightly bronzed top), as well fabric and carpet motifs. Despite Gustave Eiffel’s defense of the Tower as a utilitarian object, its glamorous uselessness has proved irresistible to the imagination and ensures that, as Roland Barthes once put it, “the Tower attracts meaning the way a lightning rod attracts thunderbolts”.
During the early 1960s in Mataró, Spain, Joaquim Anson (the father of artist Martí ANSON) developed a range of furniture inspired by modern designs with the aim of offering an affordable and fashionable custom-made range for a growing Catalan middle class who could not afford the ‘real’ objects. Yet Anson did not consider himself a designer and he worked inconspicuously providing functional and versatile solutions for his family, friends and clients. His design repertoire included lounge chairs, occasional tables, modular shelves, high chairs, and even toys, and was mostly produced in the light wood known locally as flanda (Flanders pine). Yet Anson stopped producing a decade later as he felt the initiative had become too commercially oriented and that the close relationship with his customers had began to wane. Forty years on, Martí Anson has undertaken extensive research to recuperate this social service project of his father (who kept little documentation of his work) and has begun to produce furniture again under the company name JOAQUIMANDSON. This is the rediscovered designs’ first public exhibition; a range of new prototypes is presented alongside a 1960s lamp by Catalan designer Miguel Milà which has been lent for the occasion, and posters documenting the history of the furniture company.