Manifesto
What if the masters of 1900 had GPUs? Not a retro pastiche — the machine age fulfilling their actual program: nature's mathematics computed instead of painted by hand.
Nature computed, not copied
Every ornament here is generated while you watch: L-systems grow the vines, Voronoi relaxation leads the stained glass, curl noise stirs the tendrils. No decorative JPEG exists anywhere in this build.
The whiplash curve governs
One asymmetric S-curve rules the dividers, the nav underline, the growth easing of the hero vine and the camera drift. One gesture, executed everywhere, is how a style stops being decoration and becomes grammar.
Gaslight to neon
Enamel green, oxidized copper, brass and amber carry the 1895 ground; spectral teal-to-violet gradients appear only where screens genuinely outpaint oil — living canvases and focus rings. Scarcity keeps them neon.
Material honesty
Brass looks machined because it slides like brass. Enamel buttons press with real travel. Glass glows because it is emissive. Dimensionality signals function; everything else stays flat. Nothing else casts a shadow.
Nothing loops for attention
Motion breathes on 6-to-12-second sines or it does not move. Growth happens once. Under reduced-motion preference, every scene resolves to a composed still.
Useful underneath
An archive whose facts you can verify, an atelier whose files you can keep. Beauty that cannot survive usefulness did not deserve the word.
Mucha drew his borders a thousand times to print them once. We draw them a thousand times a second and print none. The difference is not speed. It is that the drawing finally lives where he always said it did — in the rule, not the copy.