The work has little to do with sweetness; it is about stark geometry—a geometry which is stark and simple, organized to create pleasure and relatedness.

Entities in the same semantic neighborhood but without a typed relation to this one — candidates for new edges or unrecognized duplicates.

• What seems like stark geometry also arises from unfolding.claim0.796
• This is focused on beauty. It is brutal, only because, to do it, we must forget our responsibilities and the subtleties of site and function, and enter the play of pure forms with as much emphasis on feeling, art, and structure alone as we can.claim0.782
  Defines brutality as the temporary forgetting of practical responsibilities to focus purely on structural beauty
• The gist of the process, what I call the formal or brutal process, lies in the use of very simple geometry, first introduced with force, after one makes sure that the inspiration has arisen from the place, and from the introduction, then, of just enough syncopation into the order, so that it truly fits the necessities of site and place and time, without doing violence to them.claim0.780
  Summarizes the brutal process as force-first geometry, then syncopated adaptation to fit context without violence
• We hypothesize that a similar 'brutal' and purely geometric process always occurs somewhere in other kinds of unfolding that generate living order — in poetry, dance, social structure, planning, and family relationships.hypothesis0.776
  Extends the brutal geometry thesis beyond architecture into all creative and social domains; acknowledged as not yet confirmed with certainty
• The brutal geometry comes from the need for the internal geometrical coherence of the building, not from the surroundings.claim0.760
  Clarifies that the alien, brutal quality originates in internal structural logic rather than contextual adaptation
• In portraiture, as in architecture, it is the wholeness which is the real thing that lies beneath the surface and determines everything.claim0.756
  Generalization from the Matisse example: artistic success depends on capturing wholeness.
• All these works stand out because we experience in them a special quality of relatedness—relatedness of ourselves to the universe.claim0.756
  The core experiential signature of great works, which holds a clue to the process of creation.
• What pleasing yourself truly IS, is the process in which we create living structure.claim0.755
  The culminating identity claim: the act of true self-pleasing and the creation of living structure are one and the same process.