A very interesting civil building located opposite the Church of San Bartolomé. It is Baroque in style and was built in the 18th century. It currently houses the Carmona municipal library and archive.

It responds to the Baroque style typical of the period, and its exterior highlights its elegant main façade, with very pure geometric lines and two stories high, with widely spaced openings and dominated by wide sections of wall decorated with geometric designs.

The entrance portal is a beautiful example of carved brick. It is structured in two sections, with a total height equal to that of the rest of the building, even slightly surpassing it by a small arch resembling a curved pediment, which creates a wide visor at the cornice, supported by beautiful iron posts. Each of the two sections of this portal centers a facade opening, in both cases lintelled and framed by pilasters. The opening on the upper floor is crowned by a curved projection resembling a pediment, the tympanum of which bears the Domínguez family crest.

Tierheim Berlin, Hundehaus

Architect: Dietrich Bangert

1999-2002

"The stark Corbusian modernism of Berlin’s Tierheim – “animal home” – may seem a strange stylistic choice for a building meant to shelter homeless pets.(...)

Seen from above, the fractal-like Tierheim Berlin resembles an elaborate crop circle. This sci-fi allusion makes perfect sense considering the animal shelter’s otherworldly presence in the peripheral landscape where Berlin meets rural Brandenburg. Emerging from the earth in pure geometric forms, this glass and concrete edifice embraces and augments its natural environment through careful architectural design. Left exposed to the elements for little over a decade, its raw concrete surfaces have begun to show significant signs of wear since its official opening in June 2002. Yet the building’s weathering process is not a sign of failure; it is a sign of the design’s success. Architect Dietrich Bangert was well aware that the béton brut of the Tierheim Berlin would interact ecologically to produce a patina and that the building’s integration into the landscape would only deepen with time."

Benjamin Busch in the uncube Magazine

www.uncubemagazine.com/blog/15283697

Tierheim Berlin, Veterinärstation

Architect: Dietrich Bangert

1999-2002

"The stark Corbusian modernism of Berlin’s Tierheim – “animal home” – may seem a strange stylistic choice for a building meant to shelter homeless pets.(...)

Seen from above, the fractal-like Tierheim Berlin resembles an elaborate crop circle. This sci-fi allusion makes perfect sense considering the animal shelter’s otherworldly presence in the peripheral landscape where Berlin meets rural Brandenburg. Emerging from the earth in pure geometric forms, this glass and concrete edifice embraces and augments its natural environment through careful architectural design. Left exposed to the elements for little over a decade, its raw concrete surfaces have begun to show significant signs of wear since its official opening in June 2002. Yet the building’s weathering process is not a sign of failure; it is a sign of the design’s success. Architect Dietrich Bangert was well aware that the béton brut of the Tierheim Berlin would interact ecologically to produce a patina and that the building’s integration into the landscape would only deepen with time."

Benjamin Busch in the uncube Magazine

www.uncubemagazine.com/blog/15283697

California Tower seen at Balboa Park, San Diego, CA, USA

There is one thing that I can never forget about this tower – it is composed of three tiers that shift from a quadrangle to an octagon and then a circle. It’s a pure geometric fascination!

Look closely. Is that a ghost in that window? I doubt it, but pure geometric form in the picture.

In capturing this building from this particular angle, I sought to transcend mere architectural representation to reveal the graphic rhythm that animates our urban environment. My intention was to transform this facade into an almost abstract composition, where sharp white lines dialogue with the deep blues of the windows. I deliberately chose this diagonal perspective to create visual tension and give an impression of movement to this static structure. This tight framing eliminates any superfluous context, inviting the viewer to immerse themselves in this pure geometric play. I wanted the eye to get lost in this rhythmic repetition, in this alternation of solids and voids, to offer a visual experience that transcends simple architectural documentation and becomes a meditation on the formal beauty that surrounds us daily.

A recent trip through Colorado with Kevin Benedict yielded a lot of interesting photos that I am just starting to process. We started in Great Sand Dunes National Park near Alamosa CO. We had hoped for a great sunrise shot but the clouds were thick in the morning. A few hours later they had thinned out in to a layer hanging right over the sand dunes yielding this abstract view with the grassy plains in the lowest layer, the dunes, a couple of layers of clouds (the icing?) and a topping of western blue sky.

I loved the bold colors and the way that each element stood out in almost pure geometric layering. This turned out to be one of my favorite shots of the trip.

The sand dunes are very high (tallest ones about 700 feet), though they don't look it at a distance.

Taken with Pentax K-3ii, Pentax 60-250mm lens (at 70mm) and B+W Circular Polarizer (helps with the bold colors and contrast).

While photographing the iconic Millau Viaduct, designed by Foster + Partners, I chose to move away from the traditional grandiose views of the entire structure. Instead, I focused on creating a minimalist abstraction that captures the bridge's elegant engineering through pure geometric form.

By isolating a single pylon and its cables against a dark sky, I wanted to transform this engineering marvel - the tallest bridge in the world - into a study of lines and shapes. The stark contrast and diagonal composition strip away the monumental scale of the structure, creating an intimate geometric portrait that speaks to the elegant design principles behind this architectural masterpiece.

What fascinates me in this composition is how such a massive infrastructure project can be reduced to its most basic elements - a bold diagonal line bisecting the frame, delicate cables creating visual rhythm, and the vertical thrust of the pylon - while still conveying the bridge's graceful power.

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葛西臨海公園レストハウス - 建築グラビア Architecture Gravure

Gallery : photowork.jp/christinayan01/architectural/archives/2028

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Kasai Rinkai Park, Rest House (葛西臨海公園　レストハウス).

Architect : Yoshio Taniguchi (設計：谷口吉生)

Contractor : TOA Corporation (施工：東亜建設、中里建設JV).*

Completed : 1995 (竣工：1995年).

Structured : (構造：).

Height : 36ft (高さ：11m).

Floor : 3rd (階数：3階).

Floor area : (延床面積：㎡).

Location : (所在地：日本国東京都江戸川区臨海町6の葛西臨海公園内).

Referenced :

archirecords.blog.fc2.com/blog-entry-60.html

blogs.yahoo.co.jp/wattojunkyard/7316929.html

* mark is vague info. (*記号：正誤未確認).

----

Have you ever seen such a pure geometric architecture? This is designed by famous architect Yoshio Taniguchi. He is well known designed by MoMA.

Standing at the base of this abandoned concrete cooling tower, I looked up to frame the perfect circle of sky above. The brutalist architecture of these industrial structures offers a unique canvas - the converging concrete ribs create a hypnotic pattern leading to the circular void. I composed the shot to emphasize how this utilitarian structure transforms into pure geometric abstraction, with the harsh concrete elements contrasting against the soft blue sky. The decreasing circles of the tower's construction naturally draw the viewer's eye upward, turning this industrial artifact into a study of light, form, and perspective.

Mushrooms and fungi have always been fascinating to me. They seem to follow some pure geometric rule that makes them so perfectly structured.

When capturing this iconic architecture, I sought to transcend the mere representation of a commercial building to extract its pure geometric essence. The choice of black and white naturally emerged to emphasize the contrasts between different textures and surfaces. I deliberately opted for a low-angle framing and a deconstructed composition, creating visual tension that slightly disorients the viewer. My intention was to transform this symbol of luxury into an abstract study of shapes and lines, where the LV logo becomes almost a secondary graphic element in this geometric symphony. The black and white conversion and contrast treatment highlight the architectural details while creating an almost dreamlike atmosphere, as if this building were emerging from a modernist dream.

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葛西臨海公園レストハウス - 建築グラビア Architecture Gravure

Gallery : photowork.jp/christinayan01/architectural/archives/2028

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Kasai Rinkai Park, Rest House (葛西臨海公園　レストハウス).

Architect : Yoshio Taniguchi (設計：谷口吉生)

Contractor : TOA Corporation (施工：東亜建設、中里建設JV).*

Completed : 1995 (竣工：1995年).

Structured : (構造：).

Height : 36ft (高さ：11m).

Floor : 3rd (階数：3階).

Floor area : (延床面積：㎡).

Location : (所在地：日本国東京都江戸川区臨海町6の葛西臨海公園内).

Referenced :

archirecords.blog.fc2.com/blog-entry-60.html

blogs.yahoo.co.jp/wattojunkyard/7316929.html

* mark is vague info. (*記号：正誤未確認).

----

Have you ever seen such a pure geometric architecture? This is designed by famous architect Yoshio Taniguchi. He is well known designed by MoMA.

A collection of parabolas. Pure geometrical lines can be absolutely catching...

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- Thank you in advance to everyone that comments and/or faves my picture. They are all immensely appreciated.

- Espero que os guste y gracias por pasar por aquí y dejar vuestro comentario. Un saludo.

- Eskerrik asko aldez aurretik argazkia gustatzen zaionari edo komentazen duenari, beti izango zarete ondo etorriak.

Muito obrigado / Vielen dank / Merci / Grazie

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.

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葛西臨海公園レストハウス - 建築グラビア Architecture Gravure

Gallery : photowork.jp/christinayan01/architectural/archives/2028

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Kasai Rinkai Park, Rest House (葛西臨海公園　レストハウス).

Architect : Yoshio Taniguchi (設計：谷口吉生)

Contractor : TOA Corporation (施工：東亜建設、中里建設JV).*

Completed : 1995 (竣工：1995年).

Structured : (構造：).

Height : 36ft (高さ：11m).

Floor : 3rd (階数：3階).

Floor area : (延床面積：㎡).

Location : (所在地：日本国東京都江戸川区臨海町6の葛西臨海公園内).

Referenced :

archirecords.blog.fc2.com/blog-entry-60.html

blogs.yahoo.co.jp/wattojunkyard/7316929.html

* mark is vague info.

----

Have you ever seen such a pure geometric architecture? This is designed by famous architect Yoshio Taniguchi. He is well known designed by MoMA.

Without ornamentation

Pure geometric forms

Plain materials

El Pabellón Ludwig Mies van der Rohe.

La escultura de Georg Kolbe

La escultura es una reproducción en bronce de la que con el título de Amanecer realizó Georg Kolbe, artista contemporáneo a Mies van der Rohe. Está magistralmente situada en un extremo del estanque pequeño, en un punto donde no solamente se refleja en el agua sino también en el mármol y en los cristales, dando la sensación de que se multiplica en el espacio y contrastando sus líneas curvas con la pureza geométrica del edificio.

Georg Kolbe's sculpture

The sculpture is a bronze reproduction of the title that made Dawn of Georg Kolbe, a contemporary artist Mies van der Rohe. It is brilliantly located on the edge of small pond, in a place where not only is reflected in the water but also in marble and glass, giving the sensation that multiplies in the space and their curved lines contrasting with the pure geometrical the building.

Through my lens, I sought to strip away the building's functionality to reveal its pure geometric essence. By focusing on these undulating white lines, I wanted my composition to transform rigid architecture into flowing waves. The challenge was to find the perfect angle where these parallel lines create an almost hypnotic rhythm, inviting the viewer to get lost in this architectural abstraction.

While walking near the Duo Towers in Paris' 13th arrondissement, I was captivated by how light played across these distinctive facades. Looking up from the base, I was struck by the way this orange triangular section seemed to float in the sky like a golden sail. The perfectly aligned vertical slats create an almost musical visual rhythm, while their shadows add subtle depth.

I deliberately chose a minimalist framing to isolate this pure geometric form and highlight the striking contrast between the amber warmth of the metal and the paleness of the sky. What fascinates me about contemporary architecture is its ability to transform industrial materials into something elegant and almost organic. From this perspective, the Duo Tower is no longer just a building - it becomes an abstract composition, a dialogue between form, color and light in the Parisian urban landscape.

---------------------------------------------------

葛西臨海公園レストハウス - 建築グラビア Architecture Gravure

Gallery : photowork.jp/christinayan01/architectural/archives/2028

---------------------------------------------------

Kasai Rinkai Park, Rest House (葛西臨海公園　レストハウス).

Architect : Yoshio Taniguchi (設計：谷口吉生)

Contractor : TOA Corporation (施工：東亜建設、中里建設JV).*

Completed : 1995 (竣工：1995年).

Structured : (構造：).

Height : 36ft (高さ：11m).

Floor : 3rd (階数：3階).

Floor area : (延床面積：㎡).

Location : (所在地：日本国東京都江戸川区臨海町6の葛西臨海公園内).

Referenced :

archirecords.blog.fc2.com/blog-entry-60.html

blogs.yahoo.co.jp/wattojunkyard/7316929.html

* mark is vague info.

----

Have you ever seen such a pure geometric architecture? This is designed by famous architect Yoshio Taniguchi. He is well known designed by MoMA.

With its plaza and pure geometric forms I was struck by similarities between the Nykredit Crystallen building (Schmidt Hammer Lassen Architects, 2011) and some of Oscar Niemeyers Brasilia buildings.

Urtbex Benelux -

The house itself is pure Art Deco. A pure monument to that period. Straight lines, right angles were everywhere, nothing had curves, just pure geometrical form. The fireplaces, clocks, statues and furniture all etched into a theme, even the bathroom was pure Art Deco. I imagine the bar of soap which was once there was probably the same!

pure geometrical glitch patterns, no 2d filter or texture.

Art Nouveau (1880-1914) and Art Deco (1920-1940) are very distinct movements with a different look but are often confused, maybe because both start with “Art”. Only a small percentage of people can distinguish them. Are you one of them? Both the Art Nouveau and Art Deco movements emerged as reactions to major world events; the Industrial Revolution and World…

Art Nouveau is flowing and about curves. It looks to nature and organic elements for much of its inspiration. Flora is widely represented and also animals and insects, both real and imagined, decorate many pieces with bats, dragons, birds and dragonflies as popular motifs. You will find geometry in Art Nouveau, but usually in forms with curving rather than hard edges. Art nouveau is much more decorative, flowing, and floral.

Art Deco is sharp and based on straight lines and corners. It’s about perfect forms, circles and angles. Geometry plays a big part in Art Deco works made during the 1920’s and 1930’s. It was minimalistic and became even more so as the movement progressed through the years. It is considered the first genuinely industrialised style and is characterised by its pure geometric shapes.

Artists: Dimitrios Tsiokaras (Australia) / Ky Snyder (Australia)

DODECA is a gyroscopic installation that explores the beauty of light through the interplay of colour, reflection, shadow and motion. It pays homage to the pure geometric form of a regular polyhedron – a three-dimensional solid figure in which each side is a flat surface with straight edges.

From the Tate Rodchenko and Popova exhibition. Rodchenko was painting Black on Black paintings at the same time as Malevich was painting his series.

I'll quote from Camilla Gray.

"Rodchenko's work shows a vacillating attraction to first Malevich's then Tatlin's ideas. From Malevich he derived the dynamic axis which characterizes his work throughout, and his use of pure geometric forms first in two-dimensional constructions and later in three-dimensional constructions and mobiles of 1920. From Tatlin, Rodchenko gained an interest in materials which is reflected in his works of 1916-17 with their play with surface textures, at first artificially mutated, and then in real materials. From a combination of these two influences Rodchenko evolved the system of Constructivist design in which he was a pioneer."

Honestly say, I do not like to create pure geometrical shapes... But I decided to try it in minimum once :-) at the end some flowers jumped into the picture :-DDD. I cannot help myself... it was too geometrical.. (I was boring) But I love this romantic combination! New collection was born...

Pure geometric shapes form a transparent glass maze to pass from the front to the bottom of the Grande Arch.

***

In 1982, Francois Mitterand, the President of France, initiated a national design competition to create a new Arc de Triomphe. This time, the monument was built not to celebrate a military victory, but to celebrate humanity. From all of the competing projects, the design of Danish Architects Johann Otto von Spreckelsen won the competition. The construction of this new Arc de Triomphe began in 1985. Unfortunately, the original architect of the Arche could not finish the monument as he resigned in 1986 before the monument was finish. His work was continued by French Architect Paul Andreu until the completion of the monument in 1989. The company that handled the construction project was Bouygues, the giant French civil engineering company.

The monument itself is meant to be a giant cube ( 108m x 110m x 112m ) projected onto three-dimensional world. Its design was firm yet decorated with elegance of glass and marble frames from Italy. The fragile marble has recently been replaced by granite on most of the surface.

A product of the skillful sculptural workshops that developed in the early years of the Greek colony at Corcyra, the lion of "Menekrates" once watched over a tomb in the ancient cemetery, now located a short distance south of Kerkyra (Corfu) town and the archaeological museum. The archaic statue is usually dated in the late 7th century, which makes it the oldest surviving stone sculpture from Kerkyra, although it is difficult to date precisely because of the subject and its dependency on older, non-Greek models.

It represents an important waypoint in the development of monumental sculpture, which was burgeoning in the latter 7th century throughout the Greek world as sculptors attempted to render new subjects at ever-grander scales. The innovation here comes not only with the fastidious polish and partially abstracted design (the sculptor had probably never seen a real lion up close), but also with the virtuoso workmanship exhibited underneath the head, which has been fully separated from the base and dressed to the same level of polish as the rest. The frontal view also emphasizes the reduction of natural forms to geometric abstraction, in particular the spiraling folds encircling the nostrils which are nearly unrecognizable (they are meant to represent the folds around that appear during a snarl).

The stylized representation of the lion is based on Assyrian and Hittite depictions of lions from the 8th and 7th centuries BC, suggesting that the sculptors at Corcyra got their start by studying the crafts of the Near East, or were themselves artisans who had emigrated to Greece from these regions. (Both models are attested elsewhere in archaic Greece, though no information about the sculptors from Corcyra has survived.) The composition recalls those found in portable kits of bronze weights shaped like lions that were in circulation in Mesopotamia during this era, one of which might easily have made its way to Corcyra. The furrowing of the lion's muzzle is particularly close to late Assyrian examples, although this Greek version is proportioned differently and more heavily relies on pure geometric forms.

The lion is associated with the name "Menekrates" inscribed on a tomb nearby where it was found in the mid-19th century, but it came from a different, unknown tomb monument.

The Vienna Secession was founded on 3 April 1897 by artists Gustav Klimt, Koloman Moser, Josef Hoffmann, Joseph Maria Olbrich, Max Kurzweil, and others. Although Otto Wagner is widely recognized as an important member of the Vienna Secession he was not a founding member. The Secession artists objected to the prevailing conservatism of the Vienna Künstlerhaus with its traditional orientation toward Historicism.

The group earned considerable credit for its exhibition policy, which made the French Impressionists somewhat familiar to the Viennese public. The 14th Secession exhibition, designed by Josef Hoffmann and dedicated to Ludwig van Beethoven, was especially famous. A statue of Beethoven by Max Klinger stood at the center, with Klimt's Beethoven frieze mounted around it.

Unlike other movements, there is not one style that unites the work of all artists who were part of the Vienna Secession. The Secession building can be considered the icon of the movement. Above its entrance was placed the phrase "Der Zeit ihre Kunst; Der Kunst ihre Freiheit" ("To every age its art; To art its freedom"). Secession artists were concerned, above all, with exploring the possibilities of art outside the confines of academic tradition. They hoped to create a new style that owed nothing to historical influence. In this way they were very much in keeping with the iconoclastic spirit of turn-of-the-century Vienna (the time and place that also saw the publication of Freud's first writings).

Along with painters and sculptors, several prominent architects became associated with The Vienna Secession. Architects focused on bringing purer geometric forms into the designs of their buildings. The three main architects of this movement were Josef Hoffmann, Joseph Maria Olbrich, and Otto Wagner.

In 1898, the group's exhibition house was built in the vicinity of Karlsplatz. Designed by Joseph Maria Olbrich, the exhibition building soon became known simply as "the Secession" (die Sezession). The secession building displayed art from several other influential artists such as Max Klinger, Eugene Grasset, Charles Rennie Mackintosh, and Arnold Bocklin.

In 1918, painter Amédée Ozenfant and Le Corbusier established the journal L'Esprit Nouveau, a publication advocating pure, geometric form in art and architecture. Their conceptual legacy has been felt tremendously in our approach to pre-fabricated housing throughout the world and was a small seed for defining the modern aesthetic.

The material for the image is derived from a pamphlet for Corbusier's lecture series in 1920.

Situated within a Cité in Vitry, France. Many props to C215 on the wall.

shooting directly into the sun can sometimes give pleasing results - here reducing architecture to its pure geometric form in semi silhouette, creating mood and tone by suppressing the impact of the elevational detailing.

COPYRIGHT © Towner Images

MAC’s latest two deliveries from Montblanc plus a wrist watch.

The Meisterstück Long Wallet is crafted from a new deep shine blue leather. Its new pure geometric inner design enhances the essence of functionality, with room for everything thanks to the wide main compartment, fifteen card slots and extra pocket.

MATERIAL: Calf-skin leather

LEATHER: Full-grain calfskin, chrome-tanned, semi-aniline dyed through

COLOUR: Blue

LINING: Coated canvas

DIMENSIONS: 85 15 175 mm

FITTINGS / EMBLEM:

Emblems are manually centered, one by one, by our artisans. The emblem is centrally positioned, but the manual pressure operation with the machine may shift the emblem itself.

Ident No. MB129681 CAD$555.00 plus 13% HST.

Montblanc Extreme 2.0 Glossy Leather Sling Bag. CAD $1,095.00 plus 13% HST.

MB ID No.: MB 129647. A one pen pouch is provided with the sling bag.

With its shiny blue colour and matte black metal fittings, this bag represents a contemporary yet stylish shape conceived for modern urban explorers. With its external and internal pockets, all needs are at hand. Thanks to a leather loop, it is possible to attach selected articles to the shoulder strap (Idents 129657, 129658, 129732, 129733, 129661 and 129662). A 1-Pen Pouch is provided with the bag.

MATERIAL: Cowhide

COLOUR: Blue

DIMENSIONS: 170 60 295 mm

FITTINGS / EMBLEM: Emblems are manually centered, one by one, by our artisans. The emblem is centrally positioned, but the manual pressure operation with the machine may shift the emblem itself.

Montblanc Extreme 2.0 Glossy AirPods Pouch Blue. MB ID No.: MB129733 CAD$300.00 plus 13% HST..

With its shiny blue colour and matte black metal fittings, this pouch is specifically designed for Apple AirPods Pro. Thanks to a ring and a backside loop with press stud, the pouch can be worn according to one’s preference. Made in Italy. This image was taken by Montblanc.

Montblanc Summit 2 smart watch. MAC cleaned the dirt when I mentioned it. $1,290.00 plus tax.

Summit 2 Stainless Steel and Leather. Ident No. 119722.

MAC is waiting for a black leather strap. She originally purchased the light blue leather strap.

youtu.be/Er4j7S2bO3o

youtu.be/I_OqIuzZg4g

Bridging fine watchmaking and the latest wearable technology, the new Montblanc Summit 2 - a 42 mm smartwatch designed for both men and women - includes one of the most advanced sets of features and exclusive apps that make it the ultimate connected companion for a life of travel, fitness and exploration.

CASE:

Material: Stainless Steel

Case back: Glass & fiberglass resin

Crown: Rotating

Pushers: Programmable

Water resistant: 50 meters / 5 ATM

Diameter: 42 mm

Thickness: 14.3 mm

Width of horns: 22 mm

Weight: 62 g (without strap)

Strap Material: Calfskin

Colour: Sapphire Blue

Length: 8 / 12 cm

Width : 22 mm (interchangeable)

Type: Folding clasp

Technology:

Display: 1.2" full circle AMOLED, 390 x 390 (327 ppi)

OS: Wear OS by Google

Processor: Qualcomm Snapdragon Wear 3100

Compatibility: iOS 9.3+ and Android 4.4+ (excluding Go edition)

Power: 340 mAh - one full day, extra 4-5 days in Time Only Mode

Memory: 1 GB. Storage: 8 GB

Sensors: Heart rate, Microphone, Altimeter, Accelerometer, Gyroscope, Ambient light

Connectivity: Bluetooth 4.2, Wi-Fi (802.11b/g/n 2.4GHz), GPS, NFC payment

Payment: Google Pay

In the Box: Summit 2, Magnetic charging base, USB cable, Safety manual, Quick Start Guide, Guarantee Card.

Two Royal Blue ink cartridges. MB ID No.: MB128213 CAD$21.80 plus 13% HST. Made in Germany.

WIth the lovely clear blue sky I saw the opportunity to create a pure geometric abstract (if such a thing is possible) by reducing the Louvre pyramid to a triangle in a blue square.

We are proud to announce the release of the fisrt collaboration between Alex Trochut and Sudtipos team.

Available here:

www.sudtipos.com/font/dystopian

UTOPIAN is a color font family based on primary colors and pure geometric shapes, influenced by Bauhaus, DeStijl and Art Deco. Its pure shapes and basic colors are inspired by the beauty of simplicity of modular order and grid, creating a perfect environment where all these elements live in a perfect color harmony. In the other hand, DYSTOPIAN, the black and white family, represents a close sibling in appearance and structure, that carries an opposite meaning, with a darker look and feel. Both typefaces are, somehow, a reflection of the divided views and posible outcomes that the future times ahead yield before us.

Package:

Utopian/Dystopian comes in file with a pre-defined color palette. You can always change the colors converting the text to outlines. You will receive a set of patterns when you buy the full family.

Technical info to use:

The package contains a normal TTF/OTF set of fonts in Black and White and a colorfont in SVG-TTF format. To be able to use the color file you need to have installed Adobe Photoshop CC2017 or Adobe Illustrator CC2018. Not all the browsers support color fonts so please be sure to use them as graphics.

The Geode Omnimax by Adrien Fainsilber sits surrounded by water in front of the Cite des Sciences et de l'Industrie. The spherical building is actually entered from the underneath enabling it to retain it's pure geometrical shape.

The Church of St John the Evangelist Whitwell on the Hill was erected at the sole expense of Lady Louisa Katherine Lechmere following her marriage to Sir Edmund Anthony Harley Lechmere, in fulfilment of a wish of her late father. The foundation stone was laid on 6 October 1858 and the church was consecrated on 21 August 1860 by the Archbishop of York, the Right Reverend CT Longley.

The Church is remarkably well situated and commands a lovely and extensive view. The windings of the river below are plainly marked by the soft and full-foliage woods of Kirkham and Howsham; broken here and there by sunny slopes of meadow land or golden cornfields. These in turn are succeeded by the more distant outline of the dark blue Wolds. From the upper windows of the spire, (unfortunately not accessible to the public) there is a grand and unrivalled panorama, extending eastwards to the wild moors above Whitby and Scarborough and north to the Hambleton Hills and the rugged outline of Rolleston Scar. The nearby ruins of Sheriff Hutton Castle are backed by a faint outline of the Wensleydale Hills; further west Brimham Craggs rise above Harrogate and the entrance to Wharfdale. York Minster towers like a monarch over every object on the plain and the central two western towers are clearly distinguished by the naked eye. To the south-east lies the church of Holme-on-the-Hill, Sidney Smith’s “most visible church on earth”, and on a very clear day the cliffs of the north corner of Lincolnshire overhanging the junction of the Ouse and the Trent may be detected by a practised eye.

The plans for the church itself were furnished by G E Street Esq. PSA. It is pure geometric Gothic in style and consists of a nave and chancel, eighty feet long.

On the south side at the intersection of the nave and the chancel rises a very handsome tower surmounted by a broached tower, one hundred and thirteen feet in height containing a peal of six very rich toned bells, cast by Messrs Warner of London. The weight of the tenor bell is 13 cwt.

The roof is timbered and highly pitched, covered with red tiles. The floor of the whole church is tiled with Monton’s encaustic tiles and a “dado” of the same material is raised in the interior, approximately five feet high and surmounted by a string-course which is continual around the church. This gives character and a warm appearance to the side walls.

The font is situated at the extremity of the nave. It rests on a square base of red Mansfield stone supported by Derbyshire marble columns. The font itself is Caen stone inlaid with discs of alabaster and richly coloured marble spars.

The pulpit is also of Caen stone, inlaid in the same manner as the font. The desk of the pulpit rests on a slender column of marble, springing from a curiously carved figure, which is meant to represent the demon of infidelity. By its crouching attitude and look of suffering it appears to be crushed beneath the Word of God’s truth, expounded from the pulpit above!

The lectern is of oak, carved in the form of a pelican, on whose outstretched wings the Bible is placed. The bird is in the act of pecking at her breast to feed her young with her own blood, and has thus from a very early Christian age been considered as an appropriate emblem of our blessed Saviour, who shed his blood for mankind.

The tiling of the floor is proportionately richer as one approaches the east end of the church. Two steps divide the nave from the chancel, which is seated with oak stalls on each side to house the choir. At the end of one of the seats is the prayer desk for the clergy. The communion rails are brass and are made portable so they can be placed around the font on the occasion of baptism.

The reredos is an exquisite work of art – carved arcades on either side of Mansfield stone and in the centre, on a groundwork of diapered alabaster, is placed a Greek cross of dark red Languedoc marble. Upon this is suspended a delicately carved crown of thorns of pink alabaster. Various other marbles are used in the design – Galway green marble, Devonshire red, Rouge Royal, and Derbyshire spars. Beneath the reredos and immediately above the communion table is engraved in old English characters the words: By Thy Cross and Passion, good Lord, deliver us.

Over the reredos is the east window erected by Sir Edmund Lechmere as a memorial of his wife’s late father and grandfather. It was executed by Messrs Clayton and Bell and is composed of three lights, the centre representing the Crucifixion; the two side lights contain on the one side figures of the Blessed Virgin and the two Marys, and on the other side the Apostle St John, Joseph of Arimathea with his box of embalming ointment, and a Roman centurion.

The two remaining chancel windows are by Messrs Wailes of Newcastle; and were presented to the church by Mr and Mrs Stephens of Foston Hall. The north one represents the Annunciation and the scene of the Nativity in the manger at Bethlehem. he south one represents the Resurrection and the Ascension. The figure of our Lord in these two latter subjects is remarkably well drawn, with the faces almost touchingly gentle and divine. The west window, also by Messrs Wailes, was erected by the generous efforts of the tenants on the Whitwell estate in token of their esteem for the founder. The four lights contain figures of the four Evangelists and the emblems of each. The whole church is seated with open benches of solid oak.

In addition to the magnificent east and west windows and the two chancel there are further windows: In the south west nave is a window consisting of three lights, the centre depicting St Elizabeth of Hungary and the sides, St Margaret and St Catherine. This window is dedicated tothe memory of Ethel Elizabeth Brotherton of Kirkham Abbey.

he window in the north east nave also consists of three lights, the Last Supper in the centre and the Resurrection and the Blessed Virgin with St John on the sides. It was erected to the glory of God and in memory of their mother, Selina, Viscountess Milton, by Mary, Viscountess Portman and Cecil G S Foljambe. The window in the south east nave is of three lights; in the centre is the transfiguration and in the sides are Peter, James and John and the inscription reads: To the glory of God and in memory of his mother, Louisa Katherine Lechmere, by her son, Nicholas 1905. he window in the south east nave is of three lights; in the centre is the transfiguration and in the sides are Peter, James and John and the inscription reads: To the glory of God and in memory of his mother, Louisa Katherine Lechmere, by her son, Nicholas 1905.

On the north wall of the nave is an alabaster and bronze memorial to Sir Edmund Anthony Lechmere MP. On the south wall of the nave are oak bookshelves in memory of Hannah Best. On the south wall of the nave is a marble memorial tablet in memory of Joceline Charles William Savile Foljambe. Also on the south wall is a memorial to Cecil George Savile fourth Earl of Liverpool.

The list of vicars of Whitwell Church on the north wall of the nave is a memorial to Colonel Harold Robinson Pease and his wife, Hester.

On the north side of the east window is a painted plaster figure of the Blessed Virgin Mary and on the south side, a figure of St John, given to St John’s by a church in Cheshire in 1961.

A porch on the south side and a vestry on the north complete the description of the church which holds approximately one hundred and fifty people.

The public high road goes along the western wall and the churchyard is entered by a massive lych-gate, an ancient resting place for the coffin where mourners waited until the clergyman came out to meet the corpse. (Lych being an old Saxon word for corpse) The Lychgatewas re-tiled in 1996 at a cost of £4000

www.sandhuttongroup.org.uk/example-page/whitwell-on-the-h...

This is the gall of a Live Oak Bud Gall Wasp (Callirhytis quercusagrifoliae) growing on a stem of Coast Live Oak (Quercus agrifolia, Fagaceae). It's actually growing from a leaf bud at the base of the visible leaf. It's small, just 1640 pixels across in another 1:1 macro shot, which comes to 6.9 mm - about 1/4 inch. (See here for how I figure.) The galls form on the leaf buds of the tree and grow to the size of a blueberry - and then they change color and fall away to the ground, see this photo. I'm confused by the timing of these galls, since I also find them in summer, see this photo from last July. They are a wonderfully pure geometric shape. (San Marcos Pass, 5 November 2020)

Honestly say, I do not like to create pure geometrical shapes... But I decided to try it once. at the end some flowers jumped into the picture :-DDD. I cannot help myself... it was too geometrical.. (I was boring) But I love this romantic combination! New collection was born...

Emerald Street Community Hall, Essendon.

Originally erected in 1963 as an infant welfare centre it was designed by Garnet Price, Shire Engineer and Building Surveyor to the Shire of Keilor.

Why is it significant? Architecturally, the Emerald Street Community Centre can be considered as a quintessential, if rather late, example of the so-called "Melbourne School" of contemporary architecture that emerged in the early 1950s, and perhaps the finest example in the municipality. The small building boldly displays two of the defining characteristics of that style: experimentation with pure geometric form, and the use of unconventional structural engineering. The latter, manifested in the use an offset triangular frame of steel beams and adjustable screw threads mounted on tripods, is of technological (engineering) significance. While it has broad parallels with other "Melbourne School" structures of the 1950s, this specific manifestation appears to be unique. Aesthetically, the building is significant for its highly unusual, if not entirely unique, exterior form. With its distinctive triangular plan and elevated foundations, the building stands as an eye-catching structure in the landscaped setting of the public reserve, remaining readily visible from all sides as a sculptural element in its own right. source: Heritage Victoria Database

Art Nouveau (1880-1914) and Art Deco (1920-1940) are very distinct movements with a different look but are often confused, maybe because both start with “Art”. Only a small percentage of people can distinguish them. Are you one of them? Both the Art Nouveau and Art Deco movements emerged as reactions to major world events; the Industrial Revolution and World…

Art Nouveau is flowing and about curves. It looks to nature and organic elements for much of its inspiration. Flora is widely represented and also animals and insects, both real and imagined, decorate many pieces with bats, dragons, birds and dragonflies as popular motifs. You will find geometry in Art Nouveau, but usually in forms with curving rather than hard edges. Art nouveau is much more decorative, flowing, and floral.

Art Deco is sharp and based on straight lines and corners. It’s about perfect forms, circles and angles. Geometry plays a big part in Art Deco works made during the 1920’s and 1930’s. It was minimalistic and became even more so as the movement progressed through the years. It is considered the first genuinely industrialised style and is characterised by its pure geometric shapes.

Part 2- Everything you received you received when you needed it

Before N’kai there is K'n-yan. In fact there were many layers before N’Kai and in here I will tell you of this one. Each layer was connected, on multiple levels and in multiple senses with one another and not in every way that made sense. When the seal of the grave was broken sense was abandoned. Here you had to go by will and wits alone for nothing prepared you. You were in a place where there was no point of reference you could use from anywhere else but there to apprehend it.

I had lost all sense of time and came to a lit door with an unreadable tag above it. Not knowing or caring what it said I went in.

I saw a glowing blue pool of water filled with what looked like albino Indians, and one from back said to me, "I want to be seen in that shiny web that makes connections in air. Very sticky indeed.” As I approached the others quickly left leaving me with the one who spoke. As I approached I realized he wasn’t using his mouth to speak.

From the glowing blue pool I walked with him down a spiral walkway that seemed not unlike the insides of giant sea shell. My bones hummed as we passed through this area, and into a cavern, during the process of which I was over whelmed with a smell both revolting and sexually arousing, as if into some gigantic diseased frothing vagina dentata.

Towards the depth of dread N’Kai, dream spurn, my mind reside, onward through this unexpected K’N-Yan. Milky sap drips from the ceiling here, and residue was crusted over the idiot grin and rotten black gums of my telepathic guide. Bat wings had been sown into his temples and obsidian tube placed in his throat so that any sound that did some from it was like that of a croaking frog. This was Kerzor, Priest of Tsathoggua, lord of this tier on the path to N’Kai known as K’N-Yan.

It is difficult to describe this place for while Kerzor and his people may have been human once, millennia in these depth have made these albino Indians into something away from typical human genetic trajectory as to be something singular unto themselves.

K’N-Yan wasn’t a city in any sense that we would understand it. Nor could I call it a hive like an insect would make, for insects are creators of pure geometric order. It was an endless assault of cracks, crevasses, pits, stairwells, elevators, huge chambers and tunnels seemingly without one bit of order of coherence. One minute the walls looked like decayed advanced machinery, and in another smooth rock. One moment the walls seemed fleshy and another they gave way to spider webbing.

I could see what I assumed was a family having a meal of bowls of fungus and cavern milk with in a chamber that they clearly lived in, but seemed like it was originally a cross between a holy shrine and the command deck of space ship. I asked Kerzor about this place in return I received a sort of replay of a series of images that somehow I knew intuitively had been passed on over the ages through the generations of people here, a type of telepathic memory loop. But clearly Kerzor and his people while seeing the past did not understand it. In the image I saw people living in the vastness of a crashed spaceship and the distortion of a multidimensional engine that took over the caverns as it caused them to collapse, but not just collapse but warp. My God! This place was a knot work of over lapping multiple worlds and that it also led into multiple worlds. Seemingly insane as their culture was I know knew why they never needed the surface, this place led to other worlds where they could get everything they needed. Then I also knew that these people were not alone in K’N-Yan.

In another area I saw a young girl with solid black eyes sucking off an old man who looked like he was having a seizure while she did. Clearly startled, Kerzor grabbed my shoulder and said, “The Were-Spiders need Orgone in their diet”. Finishing, the spider girl wiped her mouth and grinned at me. I must admit there was a certain purely physical quality of power and force to her that the Kerzor’s people lacked that I found admirable. Despite looking mostly like a girl I could tell this was a wild beast. Kerzor pet her head and let out a load billowing croak from his mutilated throat. She bowed to him and stuck out her hand to me. I took it, and while it looked like a human hand I could feel fibers and textures I could not see on it. Looking at me dead in the eye she said, “Kerzor says you seek to go to N’Kai. No human may get to N’Kai and no human may stand before our lord Tsathoggua. I will infect you with the poison of my womb and through it you will die and be reborn so you may go lower still.”

What can I say? I did not come this far to not go all the way. Fuck my humanity.

Hernando R. Ocampo (1911-1978)

Bon Vivant

signed and dated 1969 (lower right)

oil on canvas

30” x 40” (76 cm x 102 cm)

Opening bid: P 7,000,000

Provenance:

The painting was purchased directly from the artist by Jay

Vernon Townley (went by Vern or J. V. ), a Ford Executive

who worked in the Philippines from 1966 to 1973, and

then to the current owner by descent.

Lot 131 of the Leon Gallery auction on 2 December 2017. Please see www.leon-gallery.com for more information.

Hernando R. Ocampo became famous as the ringleader of the ‘Neo-Realist’ group of painters who sought to express the new modern reality with their abstract art. The other artists were Cesar Legaspi (said to be HR’s closest friend), Vicente Manansala, Victor Oteyza, as well as the young turks Romeo Tabuena and film director Ramon Estella. They regarded as their spiritual leaders, Victorio Edades and Carlos V. Francisco. H.R. Ocampo’s biographer Angel G. de Jesus has always claimed that “Ocampo and Edades are the two real pioneers of the Philippine modernist movement.”

H.R. would make headlines as the first-prize winner of the Art Association of the Philippines (AAP) influential competition in 1951 — in the glory days of the Philippine Art Gallery, which he would helm in the absence of its founder Lyd Arguilla. Ocampo would return triumphantly for another AAP first-prize in 1969, the year “Bon Vivant” was created. That work was called “Circle” which, more or less, describes the path that H.R.’s career had taken over a single decade.

Writing in 1978, on the occasion of a monumental retrospective for his friend at the Museum of Philippine Art, de Jesus also took the occasion to write in detail on the subject of H.R. Ocampo’s distinctive and famous use of color. “Although his color theories have been ascribed to Josef Albers, an authority in color relations who painted pure geometric abstractions and taught experimental design at Bauhaus, there is a uniqueness in Ocampo’s color which many familiar with Western art have remarked on. It has been variously described as iridescent, sumptuous, glaring, and — above all — Oriental.” Those words richly describe the different luminous hues and shades of red that dance across the work at hand, “Bon Vivant”. “Bon Vivant” is French for ‘he who lives the good life’ — and it was also the name of the only French restaurant in Manila at the time, an establishment run by the society maven and chef Nora Villanueva Daza, which of course, attracted Manila’s very own bon vivants. “Bon Vivant” thus expresses all the sensory and sensual delights of fine living — from food and drink, to love and money. The work simply courses and reverberates with ecstasy and enjoyment, indeed, all of the imaginable effects of the seven deadly sins.

Had he had this mesmerizing work in mind, Angel de Jesus would have been correct when he wrote, “Ocampo’s mastery of color is complemented by an originality of subject which provides intense pleasurable excitement.” H.R., after all, was no stranger to the world of imagination having been one of the country’s best short story writers in both English and Filipino and a journalist of renown, editor of the Manila Sunday Chronicle Magazine, in whose pages who would highlight the talents of many fellow Filipino artists, poets and writers.

“Bon Vivant” is from the same “Visual Melody” period that H.R. Ocampo identified as his most fertile. He termed it as ‘pure painting’ — something akin to chamber music, said his biographer. This masterpiece brings to mind Ocampo’s legendary “Genesis (Simula)” which was painted for the Cultural Center of the Philippines and 'was blown up to make the enormous curtain of the Center’s Theater for the Performing Arts’, woven by tapestry artists of Kyoto, Japan.

-Lisa Guerrero Nakpil

Macula series A&L, 2005.

Cardboard, Dimensions variable.

Tobias Putrih, Slovenian, born 1972

Putrih, who studied physics before turning to art, draws inspiration from the pure geometric forms of modernist architecture. But among the challenges he sets for himself is "to make an object that expresses its own self–doubt, that questions its own existence."

Tobias Putrih's Macula Series A&L was on display in the special exhibition, Multiplex: Directions in Art, 1970 to Now from November 21, 2007

Fund for the Twenty-First Century

*

The Museum of Modern Art (MoMA) was founded in 1929 and is often recognized as the most influential museum of modern art in the world. Over the course of the next ten years, the Museum moved three times into progressively larger temporary quarters, and in 1939 finally opened the doors of its midtown home, located on 53rd Street between Fifth and Sixth Avenues in midtown.

MoMA's holdings include more than 150,000 paintings, sculptures, drawings, prints, photographs, architectural models and drawings, and design objects. Highlights of the collection inlcude Vincent Van Gogh's The Starry Night, Salvador Dali's The Persisence of Memory, Pablo Picasso's Les Demoiseels d'Avignon and Three Musicians, Claude Monet's Water Lilies, Piet Mondrian's Broadway Boogie Woogie, Paul Gauguin's The Seed of the Areoi, Henri Matisse's Dance, Marc Chagall's I and the Village, Paul Cezanne's The Bather, Jackson Pollack's Number 31, 1950, and Andy Warhol's Campbell's Soup Cans. MoMA also owns approximately 22,000 films and four million film stills, and MoMA's Library and Archives, the premier research facilities of their kind in the world, hold over 300,000 books, artist books, and periodicals, and extensive individual files on more than 70,000 artists.

by Tomoko Fuse ISBN 378-4-8170-8158-2

According to the amount of photos on flickr, this is the most popular among Fuse's "Unit Origami XY" series. Why's that? It does contain on over 150 pages a myriad of attractive models, most not of the pure geometric style of "Unit Origami Essence" and "Wonderland" but embellished with curls or of a stary or flowery appearance. So if Kusudamas is your's, that's the book to go among the three.

There are over 30 pages with coloured photos of the models to fold, while there are bw among the diagrams. Considering text, there's not too much and the diagrams are clear enough to work with the book easily despite the fact that it's in japanese.

30 pieces edge modules with iscosahedral symmetry dominate and modules which you may assemble in lots of polyheda. It does not contain Sonobe variants (besides Cherry Blossom).

Diagrams are clear and easy to follow, as are the assembly instructions.

The Meisterstück Long Wallet is crafted from a new deep shine blue leather. Its new pure geometric inner design enhances the essence of functionality, with room for everything thanks to the wide main compartment, fifteen card slots and extra pocket.

MATERIAL: Calf-skin leather

LEATHER: Full-grain calfskin, chrome-tanned, semi-aniline dyed through

COLOUR: Blue

LINING: Coated canvas

DIMENSIONS: 85 15 175 mm

FITTINGS / EMBLEM:

Emblems are manually centered, one by one, by our artisans. The emblem is centrally positioned, but the manual pressure operation with the machine may shift the emblem itself.

Ident No. MB129681 CAD$555.00 plus 13% HST.

The Meisterstück Long Wallet is crafted from a new deep shine blue leather. Its new pure geometric inner design enhances the essence of functionality, with room for everything thanks to the wide main compartment, fifteen card slots and extra pocket.

MATERIAL: Calf-skin leather

LEATHER: Full-grain calfskin, chrome-tanned, semi-aniline dyed through

COLOUR: Blue

LINING: Coated canvas

DIMENSIONS: 85 15 175 mm

FITTINGS / EMBLEM:

Emblems are manually centered, one by one, by our artisans. The emblem is centrally positioned, but the manual pressure operation with the machine may shift the emblem itself.

Ident No. MB129681 CAD$555.00 plus 13% HST.

Art Nouveau (1880-1914) and Art Deco (1920-1940) are very distinct movements with a different look but are often confused, maybe because both start with “Art”. Only a small percentage of people can distinguish them. Are you one of them? Both the Art Nouveau and Art Deco movements emerged as reactions to major world events; the Industrial Revolution and World…

Art Nouveau is flowing and about curves. It looks to nature and organic elements for much of its inspiration. Flora is widely represented and also animals and insects, both real and imagined, decorate many pieces with bats, dragons, birds and dragonflies as popular motifs. You will find geometry in Art Nouveau, but usually in forms with curving rather than hard edges. Art nouveau is much more decorative, flowing, and floral.

Art Deco is sharp and based on straight lines and corners. It’s about perfect forms, circles and angles. Geometry plays a big part in Art Deco works made during the 1920’s and 1930’s. It was minimalistic and became even more so as the movement progressed through the years. It is considered the first genuinely industrialised style and is characterised by its pure geometric shapes.