Move Sheffield form-language test out of docs/ into templates/examples/

docs/ is Ecuador-specific per CLAUDE.md; this Harbor House (Sheffield)
document is an unrelated worked example of form-language-prompt-template.md,
kept as evidence the template generalizes beyond its Ecuador origin.

Co-Authored-By: Claude Sonnet 5 <noreply@anthropic.com>

CLAUDE.md

@@ -240,6 +240,11 @@ Buildings 2025 methodology.
   pattern-language module (per
   `ref/Salingaros-Chapter-11-Two-Languages-for-Architecture.md`) as input
   to a later narrative-generation prompt.
+- `examples/sheffield.md` — a second worked example of
+  `form-language-prompt-template.md`, filled in for Harbor House, a
+  travellers' inn in Sheffield/South Yorkshire, unrelated to the Ecuador
+  museum project — kept here to demonstrate the template generalizes
+  beyond its Ecuador origin, not as project input.
 
 ## Conventions
 

templates/examples/sheffield.md

@@ -0,0 +1,521 @@
+# Form Language — Sheffield / South Yorkshire (Harbor House)
+
+*Generated using `templates/form-language-prompt-template.md`, filled in for
+Harbor House, a travellers' inn intended to relieve pressure on homeless
+services, sited in Sheffield, South Yorkshire, and drawing on the wider
+architectural traditions of Yorkshire and the Pennine fringe.*
+
+**Note on method**: unlike the Ecuador worked example, this document was
+generated with real web search available, so the climate figures and the
+Appendix precedents below were checked against actual sources rather than
+drawn purely from training-data recollection — sources are noted inline.
+Scale (§ programmatic notes under §0) was not specified in the brief beyond
+"a travellers' inn to relieve pressure on homeless services"; reasonable
+assumptions are stated explicitly rather than invented silently.
+
+---
+
+## 0. Role of this document
+
+This is one module of a larger prompt chain. It supplies: an invariant
+climate script for Sheffield, a form vocabulary drawn from South Yorkshire
+and the Pennine region's building history, a syntax for combining that
+vocabulary, a color system, an ornament system, and a variation protocol.
+It will be combined later with a project brief and a spatial chassis for
+Harbor House (a travellers' inn / homeless-relief hostel) inside a further
+prompt asking an LLM to write a verbal design narrative; images, if any,
+come after that narrative, not from this document directly.
+
+**Precedence when instructions conflict**: brief and spatial chassis govern
+program; the climate script (§2) is invariant and always wins; the syntax
+(§4) governs composition; color (§5) and ornament (§6) are the free
+variables chosen per project. Every generated description must name its
+chosen color register and ornament package(s) explicitly and must use the
+glossary (§11) terms exactly as defined there.
+
+This document describes a formal and tectonic *vocabulary* for descriptive
+and illustrative use — not a structural, seismic, fire, or building-code
+specification. Materials and assemblies named here (masonry plinths, stone
+slate roofing, load-bearing masonry cross-walls) may need re-engineering or
+reinterpretation with modern materials/methods to be actually buildable and
+code-compliant under current UK Building Regulations; that determination is
+a separate engineering exercise outside this document's scope. This
+vocabulary defaults to natural, traditional materials throughout (see the
+materials-priority rule under §3) — modern structural materials appear
+only where §10.12 requires them to be justified explicitly, and none are
+needed at Harbor House's assumed scale.
+
+**Programmatic assumption (stated explicitly, since the brief did not fix
+scale)**: Harbor House is read here as a small-to-medium relief inn —
+tens, not hundreds, of beds — organized as legible household-sized parts
+rather than one large institutional block, with generous shared ground-floor
+space (kitchen, communal hearth room, laundry) alongside private or
+semi-private sleeping rooms. It is sited within or adjacent to Sheffield's
+existing residential fabric, not isolated on a cleared edge site. Dignity
+and discretion matter more than visibility or monumentality — but the
+building should still read as a good, legible, welcoming front door, not a
+building ashamed of its own purpose.
+
+## 1. Design thesis
+
+Sheffield's building history does not stratify cleanly bottom-to-top the
+way an ancient/colonial city's might; instead it layers by *social
+register* as much as by time. Read Harbor House through four registers
+fused around one problem — how to house people with dignity in a wet,
+cold, hilly, historically industrial city — rather than through a single
+chronological stack:
+
+- **Ground and mass** come from the Pennine vernacular (§ S1): heavy
+  stone, low massing, a building that sits into its hillside like a
+  farmstead, not a monument planted on a cleared plinth.
+- **Modularity and repetition** come from the industrial working city (§
+  S2, S4): the party-wall workshop-house and the corrected, dual-aspect
+  terrace — proof that Sheffield already knows how to build many dignified
+  small dwellings side by side, and also knows, from the back-to-back's
+  well-documented failure, what *not* to repeat.
+- **The single generous threshold** comes from Victorian civic Sheffield
+  (§ S3), borrowed sparingly and deliberately undersized relative to its
+  civic originals — Harbor House earns one confident, well-made entrance,
+  not a facade of civic grandeur it hasn't been asked to carry.
+- **Shared circulation as social space** comes from Sheffield's own
+  working-city precedent (§ S2, S4): the Little Mesters' shared tenement
+  stair and yard court, and the terrace's rear service ginnel, widened
+  and covered rather than invented from nothing — proof that a genuinely
+  sociable shared route doesn't require a modern high-rise idea, only an
+  ordinary Yorkshire one built at a more generous width.
+
+## 2. Invariant climate script for Sheffield (FIXED)
+
+| Fact | Value | Design consequence |
+|---|---|---|
+| Latitude | ≈53.38° N | Low sun angle even at midsummer; long light summer evenings, short dark winter days; passive solar gain matters more than solar *shading* |
+| Elevation | City centre ≈81 m; the city is built across seven hills and valley confluences, rising to over 500 m at the moorland fringe | Exposure and wind-driven rain increase sharply with site elevation within the city itself — a hilltop Harbor House site is a materially different climate problem than a valley-bottom one |
+| Climate classification | Cfb — marine west coast, temperate, no dry season | Four genuine seasons; do not treat the climate as static the way a near-equatorial site would be treated |
+| Temperature | Coldest month (Jan) avg ≈4.4 °C; warmest month (Jul) avg ≈17.1 °C | Mild but persistently cool; heat retention matters far more than cooling; no mechanical cooling should be assumed necessary |
+| Rainfall | ≈830 mm/yr, fairly evenly spread, driest month (May) ≈55 mm, wettest (Nov–Dec) ≈85 mm | Rain is a year-round condition, not a season — water management (roofing, gutters, ground drainage) must be constant, not concentrated |
+| Wind | Prevailing south-westerlies off the Pennines, driving rain horizontally onto exposed elevations | West/south-west walls need the most weather protection; sheltered, lee-side entrances are preferable to exposed ones |
+
+Sources: [weatherandclimate.com Sheffield](https://weatherandclimate.com/united-kingdom/sheffield), [climate-data.org Sheffield](https://en.climate-data.org/europe/united-kingdom/england/sheffield-886513/), [Met Office long-term averages](https://www.metoffice.gov.uk/research/climate/maps-and-data/location-specific-long-term-averages/gcqzwq04e).
+
+Mandatory climate-response rules:
+
+1. **Roof**: steep-to-moderate pitched roofs only (mandatory — see §10.1);
+   flat primary roofs are forbidden. Roofing material is stone slate or
+   plain clay/concrete tile (§3, E4), never a thin membrane left exposed
+   as a visual finish.
+2. **Eaves/shading**: eaves exist to throw rain clear of the wall base and
+   protect openings from driving rain, not — as in a tropical climate — to
+   provide deep sun-shading; keep them functional rather than deep.
+3. **Ground relationship**: every building sits on a coursed stone plinth
+   (§3, E1) with a damp-proof course; nothing meets grade directly (§10.2).
+4. **Thermal mass**: walls carry real thermal mass (masonry, brick) placed
+   to retain daytime and internal-gain warmth through cool nights and
+   winter days — this mass is also the primary structure at Harbor
+   House's scale (§3, E16), so mass and structure are the same wall, not
+   split into a frame plus lightweight infill.
+5. **Courtyard/opening proportion**: openings are moderate and deep-set
+   (§3, E18) to reduce heat loss while still admitting the low-angle
+   winter sun on south-facing elevations; do not oversize glazing as if
+   shading, not heat loss, were the problem.
+6. **Orientation**: primary communal and living spaces face south or
+   south-east to capture low winter sun; service and secondary spaces
+   absorb the west/south-west exposure to prevailing wind-driven rain.
+7. **Ventilation**: dual-aspect rooms wherever the plan allows (§3, E10),
+   both for daylight and for the ability to purge summer warmth — Harbor
+   House's plan should actively avoid the historical single-aspect,
+   blind-wall failure of the back-to-back (§10.7).
+8. **Water management**: rainwater goods (gutters, downpipes, hoppers) are
+   treated as a constant, expressed architectural detail (§3, E17), never
+   concealed — this is a year-round climate, not a wet-season condition.
+9. **Seasonality**: unlike a near-equatorial site, Sheffield has four real
+   seasons. Designs must allow real seasonal adaptation — deciduous
+   planting for winter sun/summer shade, openable windows, usable
+   outdoor space in summer that can be closed down in winter — rather
+   than assuming one fixed year-round condition.
+
+## 3. Form vocabulary (lexicon)
+
+**Ground/plinth family**
+
+- **E1 — Coursed gritstone plinth.** A coursed or rubble stone base
+  grounding the building against damp and frost heave. *Origin: S1,
+  Pennine vernacular.*
+- **E2 — Ashlar quoins and door surrounds.** Precision-dressed stone at
+  corners and principal openings, set against rougher walling elsewhere.
+  *Origin: S1/S3.*
+
+**Wall family**
+
+- **E3 — Stone-mullioned window.** Small-paned window in a stone mullion
+  frame, deep-reveal set into thick walling. *Origin: S1.*
+- **E5 — Drystone boundary walling.** Freestanding, unmortared stone
+  walling marking yards, gardens, and thresholds. *Origin: S1.*
+- **E9 — Brick party-wall terrace frontage.** Narrow-fronted brick
+  dwellings in continuous run sharing party walls, reducing heat-loss
+  surface and building density with dignity. *Origin: S4.*
+- **E10 — Dual-aspect through-terrace massing.** A terrace unit with
+  openings front *and* back — the historically corrected alternative to
+  the back-to-back's blind rear wall (see §10.7); the default massing
+  logic for any repeated dwelling unit in Harbor House. *Origin: S4,
+  corrective reading.*
+- **E11 — Canted bay window.** A shallow projecting bay at ground or first
+  floor, widening the light reaching a room and giving quiet street
+  presence without ornament. *Origin: S4.*
+- **E18 — Deep-set punched window.** Openings punched into thick masonry
+  mass rather than glazed as a curtain wall; deep enough to shelter from
+  driving rain and hold a sill for personal use. *Origin: S1 + S4 fusion.*
+
+**Roof/skyline family**
+
+- **E4 — Graduated stone-slate roof.** Diminishing courses of stone
+  slates (or, where cost/engineering requires substitution, plain clay
+  tile matching the same coarse, heavy texture) at low-to-moderate pitch.
+  *Origin: S1.*
+- **E14 — Landmark tower/turret (optional, discretionary).** A single
+  vertical marker at a civic threshold. Explicitly **not mandatory** for
+  Harbor House given its residential, non-monumental character — include
+  only if a specific project variant wants a legible marker in the
+  streetscape. *Origin: S3.*
+
+**Threshold/in-between family**
+
+- **E6 — Workshop-house hybrid frontage.** A wide ground-floor working
+  opening beneath a domestic upper floor, in party-wall repetition;
+  precedent for combining a public-facing ground floor (reception,
+  kitchen, welcome) with private upper floors. *Origin: S2.*
+- **E12 — Ashlar civic frontispiece (capped).** A single dressed-sandstone
+  principal facade episode carrying a restrained classical order; used
+  once only, at reduced civic scale (§10.8). *Origin: S3.*
+- **E19 — Covered entrance lobby / storm porch.** A small enclosed
+  air-lock at every dwelling or shared entrance — pausing space, shelter
+  from driving rain, a place to meet a neighbour before the door opens.
+  *Origin: all strata, climate-driven.*
+
+**Interior/circulation family**
+
+- **E7 — Goit motif.** A narrow channel or rill referencing the mill
+  races that powered Sheffield's grinding wheels, reinterpreted as a
+  landscape or drainage feature — not literal industrial machinery.
+  *Origin: S2.*
+- **E8 — Shared stair / yard court.** A shared internal stair and
+  courtyard serving several small dwellings — precedent for communal
+  access at domestic scale. *Origin: S2.*
+- **E15 — Covered ginnel gallery.** A Yorkshire terrace ginnel — the
+  narrow rear service passage running behind or between terrace rows —
+  widened (to ≈2.5–3 m) and given an overhead cover, so it becomes a
+  genuine shared route rather than a utilitarian back-alley; routed past
+  communal windows rather than blank walls, so casual encounter is
+  designed-in. This widening is a deliberate reinterpretation, not a
+  historical fact about ginnels themselves, which were typically narrow
+  and strictly functional — the same "decompose and recombine" move used
+  elsewhere in this grammar (see E10). *Origin: S2 (tenement stair/yard
+  court, E8) + S4 (terrace ginnel), reinterpreted.*
+- **E20 — Communal hearth room.** One generously-scaled shared room with
+  a real or expressed hearth — Harbor House's principal communal space,
+  echoing both the Pennine farmhouse "house-place" and the sociability of
+  the Little Mesters' shared tenement stair and yard (E8). *Origin: S1 +
+  S2 fusion.*
+
+**Structure family**
+
+- **E16 — Load-bearing masonry cross-wall.** Party walls between terrace
+  units are themselves the primary structure, carrying floor and roof
+  loads directly — the ordinary structural system of Georgian and
+  Victorian Yorkshire terraces, requiring no frame. At Harbor House's
+  scale (§0's programmatic assumption — tens of beds, terrace-scale
+  units) this meets every span and load without needing reinforced
+  concrete or steel; a future variant that genuinely required a long-span
+  communal hall would need to state that specific structural necessity
+  explicitly before introducing an exposed frame (§10.12). *Origin: S4,
+  also S2.*
+- **E17 — Expressed rainwater goods.** Gutters, downpipes, and hoppers
+  treated as a visible detail line, not concealed — a constant given
+  Sheffield's year-round rainfall (§2.8). *Origin: all strata,
+  climate-driven.*
+
+## 4. Syntax — combination rules
+
+1. **Mass-first ordering.** Every building sits on the stone plinth (E1)
+   regardless of which stratum its walling and roof draw from; plan and
+   massing are resolved before ornament is considered.
+2. **Party-wall repetition.** Wherever more than one dwelling unit occurs,
+   use continuous, party-wall repetition (E9/E10) rather than isolated
+   freestanding blocks — this is both a heat-loss and a streetscape rule.
+3. **One frontispiece episode.** Harbor House gets exactly one generous,
+   welcoming primary entrance episode (E12, restrained per §10.8) —
+   never repeated at every elevation or unit.
+4. **Ginnel-gallery sociability.** Any shared upper-level access route
+   must meet E15's width and shelter requirements and must pass close to
+   communal windows, never blank walls — encounter is designed-in, not
+   incidental.
+5. **Threshold gradation.** Public street → storm porch/lobby (E19) →
+   shared hall/communal hearth (E20) → private room: each step is marked
+   by a change of material, level, or light, never a single door leading
+   straight into a bedroom corridor.
+6. **Roof as fifth facade.** Roofs (E4) are steep and legible from
+   Sheffield's hillside vantage points across the city — treat the
+   roofscape as a designed elevation, not leftover space above the
+   ceiling.
+7. **Domestic-scaled yard.** Any yard or garden is narrow and sheltered
+   (echoing E8's court and S4's rear yard), sized for a handful of people
+   and planting — never inflated to civic-square proportions.
+8. **Ornament concentration.** Dense ornament (E12's carving, if used)
+   appears only at the single entrance episode; elsewhere walls stay calm,
+   textured only by coursing and masonry bond.
+9. **Modular growth.** Any phased addition repeats the party-wall/terrace
+   module (E9/E10) rather than inventing a new frontage type per phase.
+10. **Structural honesty.** Party walls (E16) stay legible as the
+    load-bearing system — floors and roofs bear directly onto masonry,
+    never dressed up to imply a frame that isn't structurally needed at
+    this scale.
+
+## 5. Color system — one register selected per project
+
+**Placement rules (apply regardless of register)**: the plinth and mass
+stay close to natural stone tone; saturation, where used, is reserved for
+joinery, doors, and window frames — never for whole large wall planes;
+the roof stays a single calm tone regardless of register; colour is
+material-honest (brick stays brick-coloured, stone stays stone-coloured;
+applied paint is reserved for timber and metal elements only).
+
+- **CR1 — "Gritstone & Heather."** Silvery-grey to buff gritstone walling;
+  deep heather-purple and bracken-rust accents on doors and joinery,
+  drawn from moorland stone and Pennine upland colour. Mood: quiet,
+  weathered, rooted.
+- **CR2 — "Steel City Ochre."** Warm russet brick; blackened ironwork;
+  ochre and rust accents referencing weathered steel and forge colour
+  from the Little Mesters' workshop quarter. Mood: workmanlike, warm,
+  unpretentious.
+- **CR3 — "Civic Sandstone."** Pale honey-buff ashlar sandstone; deep
+  green or maroon painted joinery and ironwork, referencing Sheffield's
+  municipal park and Cutlers'-Hall colour traditions. Used sparingly
+  given Harbor House's deliberately non-civic character (§10.8). Mood:
+  formal, dignified, reserved for the single entrance episode only.
+- **CR4 — "Limewashed Croft."** Pale lime-white or cream limewashed
+  render over stone or brick, black-painted timber joinery, slate-grey
+  roof. Limewashing masonry farm buildings and workers' cottages is a
+  widespread traditional British practice, well attested generally, but
+  no specific named Pennine/Sheffield building has been verified here —
+  treat this register's regional grounding as plausible, not confirmed.
+  Mood: light, plain, breathing — the lightest register in this menu.
+
+## 6. Ornament system — selected per project
+
+**Placement rules (apply regardless of package)**: ornament zones to
+base (masonry coursing/texture only), threshold (the single richest
+episode), and roofline/chimney (a secondary, smaller episode) — never
+spread evenly across an elevation; structural ornament (dressed-stone
+coursing, brick bond patterns, expressed rainwater goods) is preferred
+over applied decoration; density gradients toward the one principal
+entrance; translation, not replica, of any named precedent building.
+
+- **OP1 — "Yeoman Masonry."** Coursed/dressed stone detailing, mullion
+  profiles, simple chamfered lintels. *Grounded in: S1.*
+- **OP2 — "Trade Mark."** A modest incised or cast emblem — a hearth
+  tool, a compass, a harbour/boat motif appropriate to "Harbor House"
+  itself — at the single entrance episode, drawn from the Little
+  Mesters' tradition of small workshop signage, deliberately more modest
+  than S3's civic carving. *Grounded in: S2.*
+- **OP3 — "Civic Relief, used sparingly."** A single small carved or cast
+  panel in the S3 civic register, explicitly capped in scale and
+  frequency (§10.8) so Harbor House reads as generous and dignified, not
+  monumental or institutional. *Grounded in: S3.*
+- **OP4 — "Brick Bond & Corbel."** Decorative brickwork achieved through
+  structure itself — diaper-pattern brick bonding, blue-brick banding
+  courses, corbelled brick eaves cornices — common in Victorian/Edwardian
+  Yorkshire industrial-town brickwork. Pattern arises from how the brick
+  is laid, not from anything applied afterward. Confidence: the general
+  practice is well attested; no specific named Sheffield building is
+  cited here, so treat as grounded in the type, not a verified instance.
+  *Grounded in: S4.*
+
+None of Sheffield's historical strata carry motifs of sacred, ceremonial,
+or living cultural significance in the sense that would require the
+consultation caveat used elsewhere in this template family (e.g. for
+Andean motifs) — this note is stated explicitly, per the template's
+instruction, rather than silently omitted.
+
+## 7. Composition procedure (for the describing LLM)
+
+1. Restate the Harbor House chassis (brief + spatial programme) in grammar
+   terms: which spaces are communal (E20, E15), which are private
+   (dwelling units per E9/E10), where the one entrance episode sits.
+2. Apply the climate script (§2) as non-negotiable — roof pitch, plinth,
+   orientation, and rainwater-goods expression are fixed before anything
+   else is decided.
+3. Assign vocabulary (§3) by stratum according to the design thesis (§1):
+   ground/mass from S1, repetition from S2/S4, the one frontispiece from
+   S3, shared circulation from S2/S4 (the widened ginnel gallery, E15).
+4. Check the composition against the syntax rules (§4).
+5. Select **one** colour register (§5) and apply its placement rules.
+6. Select ornament package(s) (§6) — at most one figurative/emblematic
+   package (OP2 or OP3, not both) — and apply their placement rules.
+7. Check the whole composition against the negative constraints (§10).
+8. Write the description following the output template (§8).
+
+## 8. Output description template
+
+A later narrative/description of a Harbor House variant should follow this
+fixed order: **concept** (one paragraph, naming the design thesis
+register mix) → **site/massing** (plinth, orientation, roofline) →
+**climate compliance** (how §2's rules are met) → **structure/materials by
+element code** (citing E# codes) → **colour application** (naming the
+CR# register) → **ornament placement** (naming the OP# package(s) and
+where they sit) → a short camera-ready **visual summary** with 2–3
+suggested viewpoints for a downstream image-generation step (e.g. street
+approach to the one entrance episode; the covered ginnel gallery/communal
+hearth; the roofscape from a nearby hillside).
+
+## 9. Variation protocol
+
+**Invariant across a batch**: the climate script (§2), the syntax rules
+(§4), and the colour/ornament placement rules (§5/§6 preambles).
+
+**Varies per project variant**: the chassis × one colour register × one
+ornament package.
+
+**Recommended affinities**: CR1+OP1 ("upland traditional"), CR2+OP2
+("workshop/trade"), CR4+OP4 ("plain brick croft"). CR3+OP3
+("civic-fronted") should be used at most once across a batch, and only
+for a variant deliberately exploring a more civic-fronted reading — it is
+not the default.
+
+**Coverage target**: a batch of Harbor House variants should span at
+least from the upland-vernacular end (CR1/OP1) to the plainest,
+lightest end (CR4/OP4), so a reviewer sees a genuine spread rather than
+convergence on one look.
+
+## 10. Negative constraints
+
+1. No flat primary roof (§2.1).
+2. No building meets grade without a plinth/damp-proof course (E1, §2.3).
+3. Never mix two colour registers in one project.
+4. No more than one figurative/emblematic ornament episode (OP2 *or* OP3,
+   never both) per project.
+5. No evenly-distributed ornament across a whole elevation (§6).
+6. No literal, uncredited copying of Sheffield Town Hall, Cutlers' Hall,
+   or any other named precedent in § Appendix — these are for grammar,
+   not facsimile.
+7. No back-to-back massing (blind rear wall, single-aspect ventilation)
+   reproduced literally. This is not merely a style choice: back-to-backs
+   are a well-documented public-health failure in Sheffield's own housing
+   history (overcrowding, poor sanitation, eventual mass slum clearance),
+   which is exactly why E10's dual-aspect terrace exists as the corrected
+   alternative.
+8. No spreading civic-grandeur ornament (OP3) beyond a single capped
+   episode, and no facade that reads at institutional/civic scale — Harbor
+   House is relief housing, not a monument to itself.
+9. No courtyard or yard scaled as a civic square (§4.7) — keep yards
+   domestic and sheltered.
+10. No concealing rainwater goods (E17) — they are a mandatory expressed
+    detail given the climate (§2.8), not a finish to hide.
+11. No literal reproduction of a named building's specific stone-mullion
+    pattern or frontispiece detailing without the translation-not-replica
+    caveat (§6 preamble).
+12. No reinforced concrete or steel primary structure. Load-bearing
+    masonry cross-walls (E16) meet every span and load at Harbor House's
+    scale (§0); a variant that genuinely needs a longer clear span (e.g.
+    a large communal hall) must state that specific structural necessity
+    explicitly before any exposed frame is introduced, and must then
+    express that frame honestly rather than disguising it as masonry.
+
+## 11. Glossary
+
+- **Ashlar** — masonry of large, precisely squared and dressed stone
+  blocks, laid in regular courses with fine joints.
+- **Back-to-back (house)** — a terraced house sharing party walls on
+  three of its four sides, with only a front wall for doors/windows;
+  historically associated with overcrowding and poor ventilation.
+- **Bay window** — a window projecting outward from the main wall plane,
+  usually canted or curved in plan.
+- **Corbel(led)** — a stone or brick course projecting progressively
+  outward from a wall face to carry a cornice or eaves above it.
+- **Coursed stone** — stone walling laid in continuous horizontal rows
+  ("courses"), as opposed to random rubble.
+- **Diaper work** — brickwork laid to form a repeating diamond or lozenge
+  pattern, usually in a contrasting brick colour, achieved through the
+  bond itself rather than applied decoration.
+- **Drystone wall** — a freestanding wall built from interlocking stone
+  without mortar.
+- **Frontispiece** — the principal, most architecturally worked facade or
+  entrance elevation of a building.
+- **Ginnel** — a Yorkshire/Northern English dialect term for a narrow
+  passage or alley running between or behind terraced buildings.
+- **Goit** — a Yorkshire term for an artificial water channel or
+  millrace, historically used to power water wheels.
+- **Gritstone** — a coarse-grained sandstone (Millstone Grit) widely
+  quarried across the Pennines for building stone.
+- **Limewash** — a traditional breathable paint made from lime putty,
+  used historically on masonry in place of modern impermeable paints.
+- **Little Mester** — an independent, self-employed craftsperson in
+  Sheffield's cutlery/tool trades, historically working from a small
+  rented workshop.
+- **Mullion** — a vertical member dividing a window into separate lights,
+  in this region typically of stone.
+- **Plinth** — a projecting stone or masonry base at the foot of a wall.
+- **Quoins** — dressed stones (or brick) marking and reinforcing the
+  external corner of a building.
+- **Stone slate** — thin, riven roofing stone laid in diminishing courses
+  (larger at the eaves, smaller toward the ridge) — distinct from true
+  slate, which is a different rock type.
+- **Tenement factory** — a Sheffield term for a small multi-tenant
+  workshop building, historically housing several Little Mesters.
+- **Through-terrace** — a terraced house with openings to both front and
+  rear (dual-aspect), as opposed to a back-to-back.
+- **Yorkstone** — a generic trade name for sandstone quarried from the
+  Millstone Grit and Coal Measures groups across Yorkshire, used for
+  flagstones, sills, and building stone.
+
+## Appendix — canonical precedents by stratum
+
+**S1 — Pennine vernacular (medieval–17th century)**
+
+- *Rough Bank Farmhouse* — a well-documented early Pennine gritstone
+  farmhouse (Wikipedia-catalogued, verified via search). Confidence:
+  well-documented.
+- *Brimham Lodge* and the wider body of surveyed Pennine farmhouses
+  recorded by the Yorkshire Vernacular Buildings Study Group — the
+  general tradition (mullioned windows, low-pitch stone-slate roofs,
+  coursed gritstone) is well-documented as a *type*; individual named
+  examples beyond Rough Bank Farmhouse are drawn from general
+  familiarity rather than individually re-verified here. Confidence:
+  type well-documented, individual attributions plausible-but-unverified
+  beyond the one cited.
+
+**S2 — Little Mesters / Kelham Island industrial quarter (18th–19th century)**
+
+- *Portland Works* — a surviving tenement-factory building, saved by a
+  shareholder buyout in 2013 and still renting workshop space to Little
+  Mesters. Confidence: well-documented.
+- *Kelham Island Museum* and its *River Don Engine* — the museum
+  occupies and interprets the historic industrial island itself.
+  Confidence: well-documented.
+
+**S3 — Victorian civic grandeur (mid–late 19th century)**
+
+- *Sheffield Town Hall* (Edward William Mountford, completed 1897) —
+  Renaissance Revival, Derbyshire sandstone, Grade I listed. Confidence:
+  well-documented.
+- *Cutlers' Hall* (opened 1832, banqueting hall added 1857) — classical
+  Corinthian frontage, seat of the Company of Cutlers in Hallamshire
+  (founded 1624). Confidence: well-documented.
+
+**S4 — Victorian/Edwardian working terrace (late 18th–early 20th century)**
+
+- The *back-to-back house* as a building type across Sheffield and
+  other industrial cities — Sheffield built an estimated tens of
+  thousands of terraced houses in this period. Confidence: the building
+  type and its social history are well-documented (including via
+  Wikipedia's dedicated entry); the specific "61,300 terraced houses"
+  figure comes from a real-estate blog source rather than a primary
+  historical record, so treat that specific number as plausible but not
+  independently verified here.
+
+Sources consulted for this appendix and §2's climate figures:
+[Sheffield Area Geology Trust — building stones](https://www.sagt.org.uk/building_stones),
+[Portland Works / Little Mesters](https://supplystudies.com/2013/10/07/little-mesters/),
+[Kelham Island Museum](https://www.sheffieldmuseums.org.uk/news/city-knife-making-heritage-thrives-in-new-workshops-at-kelham-island-museum/),
+[Sheffield Town Hall](https://evendo.com/locations/united-kingdom/sheffield/attraction/sheffield-town-hall),
+[Cutlers' Hall](https://en.wikipedia.org/wiki/Cutlers%27_Hall),
+[Back-to-back house](https://en.wikipedia.org/wiki/Back-to-back_house),
+[Rough Bank Farmhouse](https://en.wikipedia.org/wiki/Rough_Bank_Farmhouse).