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+D E S I G N N A R R AT I V E — P R O M P T R E F E R E N C E D O C U M E N T
+
+Casa de la Memoria Andina
+Narrative Description of the New National Museum of Ecuador
+Iñaquito Parish, Quito
+
+Av. Eloy Alfaro & Av. de la República, Iñaquito, Quito — Pichincha, Ecuador
+Prepared as context material for LLM-assisted design development
+July 2026
+
+Constrained by “A Pattern Language — Ecuador National Museum”
+and the “Ecuadorian Form Language Grammar”
+
+Casa de la Memoria Andina — National Museum of Ecuador
+
+Casa de la Memoria Andina — National Museum of
+Ecuador
+Project data and design constraints
+Purpose of this document. This document is prepared as source material for LLM prompts. It assembles,
+in one self-contained text: (1) the project data for the new National Museum of Ecuador in Quito; (2) a
+summary of the two governing design frameworks — A Pattern Language — Ecuador National Museum
+(after Christopher Alexander) and the Ecuadorian Form Language Grammar; and (3) the full narrative
+description of the building as experienced by a visitor, including its look and feel and its ornamental
+treatment.
+When using this document in a prompt, quote or reference the narrative sections directly; all spatial
+names, materials, color codes (CR1) and ornament codes (OP2, OP4) are used consistently throughout.
+Project parameters
+Parameter
+
+Value
+
+Project
+
+New National Museum of Ecuador (“Casa de la Memoria Andina”)
+
+Location
+
+Av. Eloy Alfaro and Av. de la República, Iñaquito parish, Quito —
+Pichincha — Ecuador
+
+Site area
+
+13,000 m²
+
+Building area
+
+Minimum 25,000 m², arranged on four principal levels of approx. 6,250 m²
+each; footprint under 50% of the site
+
+Program
+
+Permanent collections (archaeological, historical, artistic), temporary
+exhibitions, education and children’s learning rooms, conservation
+interpretation, community rooms, café, museum shop
+
+Users
+
+Average of 400,000 visitors per month; large daily attendance of school
+groups
+
+Composition
+
+Building complex: archaeological wing, historical wing, artistic wing,
+temporary-exhibition and education wing, and a taller central building with
+the great hall
+
+Governing design frameworks
+1. A Pattern Language — Ecuador National Museum
+The organizational constraints derive from a project-specific selection of Alexander patterns, among them:
+Building Complex (95), Number of Stories (96), Shielded Parking (97), Circulation Realms (98), Main
+
+2
+
+Casa de la Memoria Andina — National Museum of Ecuador
+
+Building (99), Building Thoroughfare (101), Positive Outdoor Space (106), Wings of Light (107), Main
+Entrance (110), Entrance Transition (112), Hierarchy of Open Space (114), Courtyards Which Live (115),
+Cascade of Roofs (116), Sheltering Roof (117), Arcades (119), Activity Pockets (124), Common Areas at
+the Heart (129), Entrance Room (130), Staircase as a Stage (133), Light on Two Sides of Every Room
+(159), Building Edge (160), Sunny Place (161), Six-Foot Balcony (167), Connection to the Earth (168),
+Paving with Cracks Between the Stones (247), Ornament (249), and Warm Colors (250).
+
+2. Ecuadorian Form Language Grammar
+Tectonic sequence: dark Ecuadorian andesite at the base; thick limewashed tapial and adobe at the
+lower levels; lighter bahareque and timber in upper galleries, gables, balconies, and sheltered internal
+façades; red-brown clay tile roofs with deep aleros.
+Spatial lexicon: atrio (civic forecourt), zaguán (entrance passage), corredor (roofed gallery walk),
+alero (deep eave), balcón corrido (continuous balcony), mirador (roofed lookout), canales (expressed
+rainwater spouts), rejas (wrought-iron grilles).
+Color system CR1 — Quito White & Andesite: matte lime-white wall fields; andesite at plinth,
+steps, portal, and principal frames; dark walnut carpentry; natural red-brown roof tile; near-black
+wrought iron; restrained oxblood zócalo on selected lower walls.
+Ornament system OP2 — Chakana and Diamond Course, concentrated at base, threshold, and
+crown, executed through masonry bonding, timber joinery, perforation, and shadow; plus one
+contained OP4 — Quiteño Retablo Episode, a single figurative wall in the great hall.
+Circulation realms (named places): Civic Atrio → Patio of Origins → Great Hall → Corredor of Time
+→ Patio of Memory → Garden of the Arts.
+
+3
+
+Narrative Description of the Building
+
+Narrative Description of the Building
+How the new museum is experienced — approach, sequence, atmosphere, and ornament
+
+First sight, from the two avenues
+From the corner of Avenida Eloy Alfaro and Avenida de la República, the museum does not announce
+itself as a single monumental object. It appears as a gathered family of white and grey masonry volumes
+rising from a broad platform of dark andesite — an archaeological wing, a historical wing, an artistic
+wing, an education wing, and, above them all, the taller central hall whose broad pyramidal roof gathers
+the whole composition. The 25,000 m² of accommodation are stacked on four levels of roughly 6,250 m²
+each, so the footprint covers less than half of the 13,000 m² property; the rest of the ground stays alive as
+forecourt, patios, gardens, and trees.
+The elevations step forward and back in shallow movements, making sheltered entrances, arcades,
+balconies, and small exterior rooms along the street. Above the walls, a roofscape of red-brown clay tile
+cascades down from the high roof of the central hall — lower gables and hips descending over the wings
+— and deep horizontal aleros throw hard shadows that shield the visitor from Quito’s fierce midday sun,
+its sudden afternoon rain, and the occasional hail. The building reads vertically as a tectonic history of the
+country: dark stone at the earth, thick limewashed tapial and adobe above it, and a lighter crown of timber
+and bahareque beneath the roofs.
+
+The Civic Atrio
+The public face of the museum is not its façade but its atrio, set slightly above street level. Broad
+ceremonial steps and gently sloping accessible paths rise between low sitting walls, planted terraces, and
+trees. This is where the city’s scale adjusts to the institution’s: large enough to absorb school groups and a
+daily attendance in the tens of thousands, yet never an empty ceremonial plaza, because its edges are lined
+with activity pockets — the ticket and information kiosk, a bookstall, sheltered benches, drinking water,
+meeting points. Cars and service vehicles are kept visually subordinate, screened behind planted walls and
+secondary wings; yet from the drop-off, the entrance portal remains clearly in view, so no one arrives
+through a back door by mistake.
+
+Threshold: portal and zaguán
+The entrance projects from the façade as a deep stone portal composed in a rhythm of five bays —
+unmistakable from both avenues, but not overpowering. Passing beneath the low protective edge of the
+roof, the visitor enters a broad zaguán, and the city falls away. Street noise dulls against thick walls with
+rounded reveals; the paving changes from rough exterior stone to smoother brick and stone bands
+underfoot; the light turns cool and subdued. Then, at the far end of the passage, the view opens suddenly
+
+4
+
+Narrative Description of the Building
+
+onto sunlight, trees, moving water, and the first patio. The transition is staged and bodily: street, atrio,
+portal, zaguán, patio — the museum never exposes itself all at once.
+
+The Patio of Origins
+The first realm is the Patio of Origins, proportioned so that the high equatorial sun reaches the paving and
+planting while the surrounding corredores remain in shade. It is not a void to be looked at through glass:
+doors open into it from the entrance hall, the archaeological galleries, the café, and the education rooms,
+and natural paths cross it in several directions. Large andesite and fired-clay slabs are laid with narrow
+planted joints, mosses and small flowers growing between the stones. Rainwater falls from expressed
+canales into shallow stone-lined rills that cross the court toward planted basins. When an afternoon storm
+breaks, visitors stand under the corredor and watch the rain work across the court; when the sun returns
+minutes later, that same sheltered edge becomes a warm place to sit.
+
+The Great Hall
+Beyond the patio stands the central building, the institutional heart toward which all roofs and paths
+converge. Inside, a broad pyramidal timber roof rises overhead, its structure fully visible, so that even in
+the largest room of the museum the visitor feels sheltered rather than dwarfed. The perimeter of the hall
+drops to a human register — information counters, window seats, alcoves, orientation displays, doorways
+into the collections.
+The main staircase is a room in its own right: it turns along two walls and widens near the floor into broad
+steps where school groups assemble, talks are given, and people simply sit to watch the life of the hall.
+From the upper landings, windows and balconies give repeated views back to the entrance patio, so
+visitors constantly re-orient themselves without signage.
+
+Realms and thoroughfares
+Movement through the museum is organized as a sequence of named realms — the Civic Atrio, the Patio
+of Origins, the Great Hall, the Corredor of Time, the Patio of Memory, the Garden of the Arts. Directions
+are given through places, not floor numbers. From the hall, several parallel loops branch out —
+archaeological, historical, artistic — and each returns independently to the hall or to a patio. This is what
+allows 400,000 visitors a month to move without a single forced procession: school groups gather on the
+stair and in common rooms while individual visitors flow past; temporary exhibitions run outside the
+permanent route. The principal circulation spaces are built as genuine building thoroughfares, 4.5 to 6
+metres wide and considerably taller than ordinary corridors, their edges lined with seating, exhibit
+windows, doorways, and views into conservation and education work. Walking is part of the visit, not
+leftover space between galleries.
+
+5
+
+Narrative Description of the Building
+
+The ascent of the collections
+The permanent collections unfold as a gradual climb through the material history of Ecuador, and the
+building’s construction tells the same story as the artifacts.
+The archaeological galleries occupy the lowest and heaviest realm. Floors and lower walls are dark stone;
+rooms are cool, calm, and acoustically quiet. At a few significant thresholds, doorways narrow slightly
+toward the top in restrained trapezoidal profiles — used sparingly, never as a repeated motif. Objects are
+met in rooms of varied size: a small gold piece in a low, protected niche at close range; a monumental
+stone in a taller vaulted chamber opening toward a court.
+The historical galleries rise into the earthen middle of the building. Limewashed walls, timber beams,
+balconies, maps, documents, and domestic objects carry the narrative from colonial Quito through
+republican and modern national life. The route is chronological but not mechanically linear — shorter
+loops are always possible — and at regular intervals it expands into a common room with seating,
+daylight, and a view, where groups can rest and rejoin.
+The artistic collections occupy the light timber crown. Here the galleries open toward recessed balconies
+and a balcón corrido overlooking the principal patio, and a roofed mirador, folded into the central roof
+rather than built as a tower, frames a single carefully chosen view of Quito and — when the weather
+allows — the flanks of Pichincha. From here the visitor understands the museum as part of the city and the
+Andean landscape, not a sealed container of objects.
+Throughout, the wings are narrow and every public room receives daylight from two sides. Sensitive
+artifacts rest in protected chambers where sunlight is excluded, but these darker rooms always alternate
+with luminous corredores, window bays, patios, and resting places. No visitor is held for hours without
+contact with daylight, weather, vegetation, or the position of the sun.
+
+Edges, courts, and gardens
+The building’s edge is treated as an inhabited thickness rather than a line. Deep window reveals become
+seats; recessed balconies, a full two metres deep, let visitors step outside while remaining under cover;
+arcades and a trellised walk connect the patios even during rain. Every courtyard has a protected “back”
+and a view toward a larger open space; every terrace is placed where it catches useful sun and is sheltered
+from the afternoon wind. The café opens at once toward an interior common room, a roofed veranda, and a
+sunny garden, so a parent can sit with the building at their back and watch children in the space ahead.
+Around the smaller education court, interior windows reveal the museum at work — an exhibition being
+mounted, an artifact being documented — making visible the human labor by which cultural memory is
+preserved. Terraces, steps, and sitting walls blur the line where building ends and earth begins.
+
+6
+
+Narrative Description of the Building
+
+Look and feel
+The atmosphere is substantial without being oppressive, ceremonial without being authoritarian. Walls feel
+thick enough to shelter; roofs are always perceptible overhead; openings are tall and relatively narrow,
+glazed in small panes, so daylight enters as reflected light from pale plaster rather than glare through plate
+glass. The sound of footsteps changes from stone halls to timber galleries to brick corredores to planted
+courts. Timber, earth render, vegetation, and rain give the building a smell as much as a look.
+The color system is CR1 — Quito White & Andesite. Wall fields are matte lime-white; andesite carries
+the plinth, retaining walls, steps, portal, and principal structural frames. Carpentry is dark walnut; roof
+tiles remain their natural red-brown; wrought-iron rejas are almost black; a restrained oxblood zócalo runs
+along selected lower walls. From a distance the museum has a grave civic presence; at close range it is
+animated by moving sunlight, deep shadow, timber, planting, and people. Color lives on doors, windows,
+rails, and chosen interior elements — never spread indiscriminately across the building.
+
+Ornamental treatment
+Ornament follows the geometric system OP2 — Chakana and Diamond Course, with one contained
+OP4 — Quiteño Retablo Episode, and it is disciplined by place: concentrated at the base, the threshold,
+and the crown, never distributed as surface decoration. Diamond-coursed masonry appears in limited
+bands within the andesite plinth. Stepped profiles derived from the chakana shape the stair edges, portal
+mouldings, metal grilles, door pulls, and a small number of cornice transitions — all of it made through
+masonry bonding, timber joinery, perforation, and shadow, never applied graphics.
+The density of ornament increases as one approaches the portal. Its outer bays stay relatively plain; the
+central bay carries the most precise stone carving, deeply recessed doors, and geometric timberwork.
+Beyond the entrance, ornament subsides so the patios and galleries can remain quiet.
+The single figurative episode waits inside the great hall: one wall composed as a contemporary retablo of
+national memory — a tiered field of niches and frames holding abstracted sun and moon discs, maize,
+Andean flowers, birds, and animal forms, integrated with the orientation desk, the stair landing, and the
+first objects of the collection. It is dense, luminous, and memorable, and it stays in this one civic center.
+Every other major wall remains calm, preserving the distinction between ornament, architecture, and the
+artifacts themselves. The result translates pre-Columbian, colonial, indigenous, and baroque traditions into
+contemporary construction — without reproducing a historical façade, and without becoming collage.
+
+Departure
+At the end of the visit the loops converge gently rather than discharging the visitor. Routes return through
+the great hall or a patio, past the shop and café, into the entrance room with its clear view of the atrio and
+
+7
+
+Narrative Description of the Building
+
+the city beyond. The exit reverses the arrival: protected gallery, corredor, sunlit patio, shaded zaguán, civic
+atrio, street. What remains is not the impression of having crossed a large institutional machine, but of
+having ascended a condensed Ecuadorian landscape — stone ground, earthen rooms, inhabited thresholds,
+living courts, crafted timber, rain-bearing roofs, and a few carefully concentrated moments of celebration.
+
+8
+
+
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