Write full prose draft of follow-up paper (ecuador-lco)
Full draft at paper/paper.md following the agreed outline: abstract, background on the Museo Nacional competition, the form-language method extension and its templating/validation, the two-track worked example (Postle narrative/Midjourney vs Salingaros narrative/ChatGPT), July 23 symposium reception (including the "flavors, not solutions" critique), drawbacks, and the proposed plan-layout future work. Reception quotes checked against the transcript; content adapted from Salingaros' partial process-report article where applicable. Not yet submission-ready -- needs author review and a formal reference list. Co-Authored-By: Claude Sonnet 5 <noreply@anthropic.com>
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{"_type":"issue","id":"ecuador-cbd","title":"Mine critique transcript for named failures to avoid","description":"Why: CLAUDE.md step 2 uses the critique transcript (Nikos Salingaros and others analysing\nthe winning competition proposal) as a source of specific, concrete failures - not vague\ncomplaints - so the condensed brief and later narratives can explicitly steer clear of\nthem. This transcript is a 1352-line unstructured conversational recording (references\neye-tracking studies of the losing design), so it needs a deliberate reading pass rather\nthan a quick grep.\n\nWhat: Read ref/youtube-transcript.txt in full and extract a list of specific named\nfailures of the winning proposal (e.g. illegible circulation, inhuman scale relative to\nvisitors, hostile/blank facades, disconnection from urban context, parking treated as a\nprimary experience, meaningless shed-like massing - confirm and expand on actual read).\nFor each failure, note: (a) a short label, (b) the concrete evidence/quote from the\ntranscript, (c) which stakeholder(s) it harms, and (d) which pattern(s) in\n\"A Pattern Language Ecuador National Museum.md\" directly counters it (e.g. shielded/small\nparking lots patterns 97/103 counter \"parking as primary experience\"; circulation realms\npattern 98 counters \"illegible circulation\"). Write up as ref/critique-failures.md.","acceptance_criteria":"ref/critique-failures.md lists concrete, evidenced failures (not paraphrased vibes), each mapped to at least one countering pattern from the subset","status":"closed","priority":1,"issue_type":"task","assignee":"Bruno Postle","owner":"bruno@postle.net","created_at":"2026-07-18T19:38:10Z","created_by":"Bruno Postle","updated_at":"2026-07-18T20:03:36Z","started_at":"2026-07-18T20:00:17Z","closed_at":"2026-07-18T20:03:36Z","close_reason":"brief-condensed.md, critique-failures.md, and CLAUDE.md output-format decision all written","dependencies":[{"issue_id":"ecuador-cbd","depends_on_id":"ecuador-7vi","type":"parent-child","created_at":"2026-07-18T20:47:40Z","created_by":"Bruno Postle","metadata":"{}"}],"dependency_count":0,"dependent_count":1,"comment_count":0}
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{"_type":"issue","id":"ecuador-mcq","title":"Condense official brief into genuine human-needs facts","description":"Why: CLAUDE.md step 2 requires distilling the official Stage 1 call documents down to\nwhat serves genuine human needs. The first pass of this task under-weighted one thing:\n\"human needs\" framing must not be used to reduce the National Collection itself to a\nbare scale number - the actual holdings are a legitimate, central program driver (what\npeople will actually encounter) and later narratives, especially the indigenous/\ncommunity stakeholder one, need to reference real, specific heritage content rather than\nan abstract \"collection\". Also new source material has arrived: Nikos Salingaros\ncontributed ref/Casa de la Memoria Andina - National Museum Narrative-Kimi.txt, a\nproject-data-plus-narrative document that already states site/program parameters\n(sometimes rounded differently than the official brief, e.g. \"13,000 sqm\" vs the\nofficial 13,004.65 sqm) - reconcile any discrepancies against the official brief rather\nthan silently picking one.\n\nWhat: Read ref/Muna Technical Bases for Stage 1.txt (Overview, National Museum of\nEcuador history/mission, National Collection reserve breakdown, Location section) and\nref/Muna ANNEX-1/ANNEX-2 (confirm ANNEX-2 is administrative-only beyond blank\nteam-portfolio tables). Write ref/brief-condensed.md with two clearly separate parts:\n\n1. FACTS: institutional mission/history, site data (13,004.65 sqm plot, Av. Eloy Alfaro\n / Av. de la Republica, Inaquito, La Pradera Urban Action Unit, opposite La Carolina\n park, Metro/Trolleybus access), minimum 25,000 sqm building area, broad program\n categories (exhibition, conservation and research, education, public areas,\n landscape). Note there is no detailed room-by-room spatial program in the source\n docs.\n\n2. THE NATIONAL COLLECTION (do not reduce to numbers only): for each of the 5 reserves,\n give both the scale AND representative named/typed content, since this is what\n visitors and community stakeholders will actually encounter:\n - Archaeology Reserve: 62,103 pieces - lithic tools/obsidian points through Manteno\n stone seats and the Tolita Sun.\n - Colonial and Republican Reserve: 5,353 pieces - colonial altarpieces, sculptures by\n Bernardo de Legarda, works by Joaquin Pinto.\n - Modern and Contemporary Art Reserve: 2,538 works - Luis A. Martinez, Araceli\n Gilbert, and other 20th/21st-century Ecuadorian artists.\n - Human Sciences Library: ~210,000 bibliographic items (1480-present), including the\n Jijon y Caamano and Isaac Barrera collections - a major, currently under-served\n holding, not just an adjunct to the galleries.\n - Historical Archive: 918,673 documents - colonial manuscripts, photographs, musical\n scores, sound/radio recordings, cartography, posters.\n Also carry forward the brief's own framing: the museum currently exhibits under 1% of\n its collection due to space/infrastructure limits - this is a core human-needs problem\n the new building must solve, distinct from square-footage alone.\n\nCross-check both parts against ref/Casa de la Memoria Andina - National Museum\nNarrative-Kimi.txt's stated project parameters and flag (don't silently resolve) any\nnumeric discrepancies for the chassis-extraction task to settle.","acceptance_criteria":"ref/brief-condensed.md has a distinct National Collection section naming representative holdings per reserve (not just counts), keeps the under-1%-exhibited problem, and flags any numeric discrepancies with the Salingaros narrative rather than silently overriding either source","status":"closed","priority":1,"issue_type":"task","assignee":"Bruno Postle","owner":"bruno@postle.net","created_at":"2026-07-18T19:38:05Z","created_by":"Bruno Postle","updated_at":"2026-07-18T20:03:35Z","started_at":"2026-07-18T20:00:13Z","closed_at":"2026-07-18T20:03:35Z","close_reason":"brief-condensed.md, critique-failures.md, and CLAUDE.md output-format decision all written","dependencies":[{"issue_id":"ecuador-mcq","depends_on_id":"ecuador-7vi","type":"parent-child","created_at":"2026-07-18T20:47:35Z","created_by":"Bruno Postle","metadata":"{}"}],"dependency_count":0,"dependent_count":1,"comment_count":0}
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{"_type":"issue","id":"ecuador-7vi","title":"Museum counter-proposal: brief → chassis → narratives → consistency check","description":"Why: This is the project's core deliverable per CLAUDE.md - a pattern-language-driven\ncounter-proposal narrative for the National Museum of Ecuador, published to influence\npublic debate while the winning competition scheme is on hold. The pattern subset and\nform-language grammar are already in ref/; the brief has not yet been condensed and no\nnarratives have been written.\n\nWhat: Parent epic tracking the full remaining pipeline: condense brief facts + mine\ncritique transcript for named failures -\u003e fix shared design invariants in one chassis\ndocument -\u003e draft four stakeholder narratives against that shared chassis -\u003e cross-check\nall four for fidelity to patterns/brief/grammar and mutual consistency.","acceptance_criteria":"All 4 narratives exist at the agreed location, are mutually consistent, trace every design claim to the pattern subset/chassis/brief, and the cross-check issue (ecuador-7vi.5) is closed with no unresolved findings.","status":"closed","priority":1,"issue_type":"epic","owner":"bruno@postle.net","created_at":"2026-07-18T19:36:29Z","created_by":"Bruno Postle","updated_at":"2026-07-18T20:15:40Z","closed_at":"2026-07-18T20:15:40Z","close_reason":"Full pipeline complete: brief condensed, critique failures mined, chassis extracted, all four stakeholder narratives written and cross-checked with no unresolved findings","dependency_count":0,"dependent_count":0,"comment_count":0}
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{"_type":"issue","id":"ecuador-lco","title":"Write follow-up paper: Postle \u0026 Salingaros, plan-layout extension of LLM pattern synthesis","description":"Follow-up to Postle \u0026 Salingaros, 'LLM and Pattern Language Synthesis: A Hybrid Tool for Human-Centered Architectural Design,' Buildings 2025, 15, 2400. Target venue: Buildings (sequel paper). Location in repo: new top-level paper/ directory.\n\nUses the Ecuador National Museum counter-proposal (this repo) as the worked example. Reports a real-world deployment of an extended version of the original chain, in an active contested public process, and extends the method with a form-language intermediate layer.\n\nAgreed outline:\n1. Intro - recap original pattern-\u003enarrative-\u003eimage chain; frame this paper as reporting a live, high-stakes public-advocacy deployment (not a hypothetical case study) plus a method extension.\n2. Method extension - three inputs instead of two: pattern language (ref/A Pattern Language Ecuador National Museum.md) + form language (ref/Ecuadorian_Form_Language_Grammar.md, per Salingaros' Chapter 11 'Two Languages for Architecture') + project brief/critique material (ref/brief-condensed.md, ref/critique-failures.md).\n3. Templating the form-language step - templates/form-language-prompt-template.md generalizes Salingaros' bespoke two-step prompting (docs/salingaros-*-prompt.md) into a reusable placeholder instrument (typology/region/site-climate/historical strata), analogous to how the pattern-subset curation tool worked in the original paper.\n4. Worked example - Ecuador museum counter-proposal as two independent runs from shared inputs: our four-stakeholder-narrative track (narratives/ -\u003e docs/counter-proposal.md) vs. Salingaros' parallel track (docs/3.Casa-de-la-Memoria-*, docs/images-salingaros/). Same pattern subset + form-language grammar, divergent narratives/images.\n5. Reception - July 23 symposium (ref/youtube-transcript-2026-07-23.txt) as informal peer engagement: praise for aesthetic consistency of 'spirit' across images, but substantive critique from a practicing architect (Pablo Alvarez Funes) on record: 'this Nikos did not create a plan,' 'these are flavors, not solutions,' hallucinations visible at corners, need for licensed architects to make forms buildable.\n6. Drawbacks - images are inspirational/illustrative, not derived from one coordinated floor plan, so spatial claims across images aren't guaranteed to reconcile (small real instance in this repo: entrance-portal image showing three arches vs. a five-bay text description, caption loosened rather than image/text rewritten). No mechanism yet for genuine public participation beyond unfiltered social-media image voting, which the transcript warns degenerates without curation.\n7. Next steps - PROPOSE (not prototype, per user decision) plan-layout generation as a missing stage: mining the pattern subset's implicit spatial/adjacency relationships (e.g. project-chassis.md's named circulation realms) into an explicit layout layer that narratives/images could be derived from, rather than each being independently invented. See ecuador-\u003cbubble-diagram-issue-id\u003e for a possible prototype that could get folded into this section if it happens in time.\n8. Conclusion.\n\nDeliverable for now: outline draft as a new Markdown file under paper/ (not full prose yet - discussed and agreed structure only).","notes":"Outline draft delivered: paper/outline.md (8 sections per agreed structure). Section 4 updated per author note (2026-07-24): Salingaros' ChatGPT images are more compelling/photo-realistic than Postle's Midjourney images, cause unknown - paper's illustrative material should draw primarily on the Salingaros/ChatGPT set, with the Midjourney set used only for the explicit two-track comparison in section 4. Follow-up investigation tracked separately as ecuador-gup (optional, lower priority than the plan-layout work in ecuador-0u5).","status":"open","priority":2,"issue_type":"feature","owner":"bruno@postle.net","created_at":"2026-07-24T20:33:48Z","created_by":"Bruno Postle","updated_at":"2026-07-24T20:46:17Z","dependency_count":0,"dependent_count":0,"comment_count":0}
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{"_type":"issue","id":"ecuador-lco","title":"Write follow-up paper: Postle \u0026 Salingaros, plan-layout extension of LLM pattern synthesis","description":"Follow-up to Postle \u0026 Salingaros, 'LLM and Pattern Language Synthesis: A Hybrid Tool for Human-Centered Architectural Design,' Buildings 2025, 15, 2400. Target venue: Buildings (sequel paper). Location in repo: new top-level paper/ directory.\n\nUses the Ecuador National Museum counter-proposal (this repo) as the worked example. Reports a real-world deployment of an extended version of the original chain, in an active contested public process, and extends the method with a form-language intermediate layer.\n\nAgreed outline:\n1. Intro - recap original pattern-\u003enarrative-\u003eimage chain; frame this paper as reporting a live, high-stakes public-advocacy deployment (not a hypothetical case study) plus a method extension.\n2. Method extension - three inputs instead of two: pattern language (ref/A Pattern Language Ecuador National Museum.md) + form language (ref/Ecuadorian_Form_Language_Grammar.md, per Salingaros' Chapter 11 'Two Languages for Architecture') + project brief/critique material (ref/brief-condensed.md, ref/critique-failures.md).\n3. Templating the form-language step - templates/form-language-prompt-template.md generalizes Salingaros' bespoke two-step prompting (docs/salingaros-*-prompt.md) into a reusable placeholder instrument (typology/region/site-climate/historical strata), analogous to how the pattern-subset curation tool worked in the original paper.\n4. Worked example - Ecuador museum counter-proposal as two independent runs from shared inputs: our four-stakeholder-narrative track (narratives/ -\u003e docs/counter-proposal.md) vs. Salingaros' parallel track (docs/3.Casa-de-la-Memoria-*, docs/images-salingaros/). Same pattern subset + form-language grammar, divergent narratives/images.\n5. Reception - July 23 symposium (ref/youtube-transcript-2026-07-23.txt) as informal peer engagement: praise for aesthetic consistency of 'spirit' across images, but substantive critique from a practicing architect (Pablo Alvarez Funes) on record: 'this Nikos did not create a plan,' 'these are flavors, not solutions,' hallucinations visible at corners, need for licensed architects to make forms buildable.\n6. Drawbacks - images are inspirational/illustrative, not derived from one coordinated floor plan, so spatial claims across images aren't guaranteed to reconcile (small real instance in this repo: entrance-portal image showing three arches vs. a five-bay text description, caption loosened rather than image/text rewritten). No mechanism yet for genuine public participation beyond unfiltered social-media image voting, which the transcript warns degenerates without curation.\n7. Next steps - PROPOSE (not prototype, per user decision) plan-layout generation as a missing stage: mining the pattern subset's implicit spatial/adjacency relationships (e.g. project-chassis.md's named circulation realms) into an explicit layout layer that narratives/images could be derived from, rather than each being independently invented. See ecuador-\u003cbubble-diagram-issue-id\u003e for a possible prototype that could get folded into this section if it happens in time.\n8. Conclusion.\n\nDeliverable for now: outline draft as a new Markdown file under paper/ (not full prose yet - discussed and agreed structure only).","notes":"Full prose draft written: paper/paper.md (8 sections + abstract, keywords, references, data-availability, matching the agreed outline in paper/outline.md, which is now marked superseded-as-working-doc but kept for the structural rationale). Reused content from docs/From-Pattern-Language-to-Architectural-Image-Salingaros-revised.md (his partially-complete process-report article) for the form-language and worked-example sections, adapted into journal register and extended with the two-track comparison, symposium reception, drawbacks, and future-work sections not present in his article. Reception quotes checked against ref/youtube-transcript-2026-07-23.txt for accuracy. Not yet submission-ready: needs author review, real reference list (only 3 items currently, rest cited as repo paths under Data and Materials Availability), and a decision on whether/how to fold in ecuador-0u5's prototype or ecuador-gup's image-register investigation before final submission.","status":"in_progress","priority":2,"issue_type":"feature","assignee":"Bruno Postle","owner":"bruno@postle.net","created_at":"2026-07-24T20:33:48Z","created_by":"Bruno Postle","updated_at":"2026-07-24T21:03:47Z","started_at":"2026-07-24T20:56:16Z","dependency_count":0,"dependent_count":0,"comment_count":0}
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{"_type":"issue","id":"ecuador-vay","title":"Generalize a reusable form-language prompt template","description":"The original Postle \u0026 Salingaros paper (buildings-15-02400-v2.txt) only used a\npattern-language fragment as LLM context. This project's key methodological\naddition is pairing that with a form-language grammar (tectonic/spatial/color/\nornament rules) - see ref/Ecuadorian_Form_Language_Grammar.md as the concrete\nexample output for this project.\n\nWe now have the evidence needed to generalize this into a reusable instrument:\n- docs/salingaros-form-language-prompt.md - the actual prompts Salingaros used\n to generate the Ecuadorian form-language grammar (initial + follow-up,\n iterating toward: research vernacular/historical building images across a\n region, synthesize into a generative grammar rather than a style to copy,\n narrow to the specific project's climate/site while drawing vocabulary from\n the wider region, and produce a structured document meant to feed a later\n narrative-generation prompt rather than to generate images directly).\n- ref/Salingaros-Chapter-11-Two-Languages-for-Architecture.md - the theoretical\n basis (pattern language = human/organizational rules, form language =\n geometric/tectonic rules; the two must be linked or the pattern language\n can't connect to built form).\n- ref/Ecuadorian_Form_Language_Grammar.md - the worked example: its structure\n (tectonic sequence, spatial lexicon, composition syntax, color/ornament\n systems with coded references like CR1/OP2/OP4) is the target shape for the\n template's output.\n\nNext step: distill these into a prompt TEMPLATE (with placeholders for region,\nclimate, site, and building-typology specifics) that could be handed to an LLM\nto generate a form-language grammar for any locale/project, in the same\nstructural format as the Ecuadorian example. This is a generalization of the\nmethod, likely relevant to a future paper or revision of the Buildings 2025\nmethodology alongside the existing pattern-language-only approach.","status":"closed","priority":2,"issue_type":"task","assignee":"Bruno Postle","owner":"bruno@postle.net","created_at":"2026-07-24T18:29:07Z","created_by":"Bruno Postle","updated_at":"2026-07-24T18:52:02Z","started_at":"2026-07-24T18:34:49Z","closed_at":"2026-07-24T18:52:02Z","close_reason":"Wrote templates/form-language-prompt-template.md, reviewed for failure modes (hallucination/unverified search claims, region-scale coherence, buildability disclaimer, sacred-motif caution) and applied fixes","dependency_count":0,"dependent_count":0,"comment_count":0}
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{"_type":"issue","id":"ecuador-j4n","title":"Write AI image-generation prompts for the counter-proposal's illustrations","description":"Why: docs/counter-proposal.md is the public presentation document and has illustration placeholders throughout (11 markers, several covering more than one distinct scene, ~13 images total) that need to be generated by an AI image tool later, by others (per CLAUDE.md, image generation itself is out of scope for us). For the images to read as one coherent building rather than 13 unrelated renders, the prompts need a shared visual style guide (materials, color palette, massing, ornament placement, mood, rendering medium) repeated/embedded consistently in every individual prompt, plus a scene-specific description grounded in the exact passage of the narrative it illustrates.\n\nWhat: Produce a documented set of detailed image-generation prompts, one per illustration placeholder in docs/counter-proposal.md, each prompt self-contained (includes the full shared style/consistency context, not just a cross-reference) so it can be handed individually to an image generator. Base the visual facts on ref/project-chassis.md (materials strata, CR1 color system executed in plain language, OP2/OP4 ornament) and the relevant narrative passage in docs/counter-proposal.md. Decide file location/format as part of this work.","status":"closed","priority":2,"issue_type":"task","assignee":"Bruno Postle","owner":"bruno@postle.net","created_at":"2026-07-18T20:37:57Z","created_by":"Bruno Postle","updated_at":"2026-07-18T20:47:07Z","started_at":"2026-07-18T20:38:12Z","closed_at":"2026-07-18T20:47:07Z","close_reason":"docs/illustration-prompts.md rewritten: each of the 13 prompts now has the full shared style guide pasted literally inline (no cross-reference placeholder), so any single prompt can be copied straight into an image generator","dependency_count":0,"dependent_count":0,"comment_count":0}
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{"_type":"issue","id":"ecuador-cmo","title":"Decide narrative output format/directory layout, update CLAUDE.md Status","description":"Why: CLAUDE.md's Status section explicitly defers this decision: \"Output format,\nfilenames, and directory layout are not yet finalized - decide and record here once the\nnarrative-writing step actually begins.\" That step is about to begin, so this needs\nresolving before narrative-writing tasks are picked up, otherwise each narrative risks\nlanding in an inconsistent location/format.\n\nWhat: Decide (a) directory - likely a new top-level narratives/ - (b) one file per\nstakeholder vs one combined document, (c) filename convention, (d) whether a short\nshared preamble (chassis summary) is prepended/linked in each narrative file for a\nreader encountering only one of them. Update CLAUDE.md's Status section and Deliverable\nsection to record the decision so future sessions don't have to re-derive it.","acceptance_criteria":"CLAUDE.md Status/Deliverable sections state the concrete directory, filenames and per-file structure to use","status":"closed","priority":2,"issue_type":"task","assignee":"Bruno Postle","owner":"bruno@postle.net","created_at":"2026-07-18T19:38:14Z","created_by":"Bruno Postle","updated_at":"2026-07-18T20:03:38Z","started_at":"2026-07-18T20:00:19Z","closed_at":"2026-07-18T20:03:38Z","close_reason":"brief-condensed.md, critique-failures.md, and CLAUDE.md output-format decision all written","dependencies":[{"issue_id":"ecuador-cmo","depends_on_id":"ecuador-7vi","type":"parent-child","created_at":"2026-07-18T20:47:44Z","created_by":"Bruno Postle","metadata":"{}"}],"dependency_count":0,"dependent_count":4,"comment_count":0}
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@ -11,7 +11,9 @@ Pattern Language Synthesis: A Hybrid Tool for Human-Centered
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Architectural Design," *Buildings* 2025, 15, 2400 —
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`ref/buildings-15-02400-v2.txt`)
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Status: outline only, agreed structure, no full prose yet.
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Status: superseded as the working document by the full prose draft at
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`paper/paper.md`, which follows this outline's structure. Kept here as
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the record of the agreed structure and the reasoning behind it.
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## 1. Introduction
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# From Pattern to Plan: A Form-Language Extension and a Live Public-Advocacy Deployment of LLM-Mediated Pattern Language Synthesis
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Bruno Postle¹ and Nikos A. Salingaros²,³
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¹ Union Street Research, Sheffield, UK
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² Department of Mathematics, The University of Texas, San Antonio, TX, USA
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³ Thrust of Urban Governance and Design, Hong Kong University of Science and Technology (Guangzhou), Guangzhou, China
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*Draft — target venue: Buildings (sequel to Postle, B.; Salingaros, N.A. "LLM and Pattern Language Synthesis: A Hybrid Tool for Human-Centered Architectural Design." Buildings 2025, 15, 2400).*
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---
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## Abstract
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A prior paper (Postle & Salingaros, *Buildings* 2025, 15, 2400) introduced a
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method for turning a curated subset of Christopher Alexander's *A Pattern
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Language* into an experiential design narrative using a large language
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model (LLM), demonstrated on a hypothetical university building. This
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paper reports a live deployment of an extended version of that method in
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an active, contested public process: an independent counter-proposal for
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the new National Museum of Ecuador (Quito), written in response to public
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objection to the winning entry of an international design competition. We
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extend the original two-input chain (pattern subset + brief) with a third
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input, a *form language* — a project-specific grammar of climatic
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response, tectonics, material, color, and ornament, following Salingaros'
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theoretical framework of pattern language and form language as
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complementary, jointly necessary instruments. We generalize the bespoke
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prompting used to produce this project's form-language grammar into a
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reusable, placeholder-driven template, and validate that it generalizes to
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an unrelated typology, region, and climate. From one shared pattern
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subset and form-language grammar, two authors independently ran the
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method to completion, producing two narratives and two illustrated image
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sets (13 watercolor-register images; 25 photo-realistic images) that
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converge on compatible design moves while diverging sharply in visual
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register, for reasons we have not yet isolated. We report informal peer
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reception of this work at a public symposium, including a substantive
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critique from a practicing architect that the method, as run, produced
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"flavors, not solutions" because no single coordinated floor plan
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underlies the independently generated images. We discuss this and other
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limitations, and propose — without yet prototyping — an explicit
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plan-layout generation stage as the method's next needed instrument,
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mining spatial-adjacency information already implicit in the pattern
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subset.
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**Keywords**: pattern language; form language; large language models;
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human-centered architecture; generative AI in design; participatory
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design; Christopher Alexander; Ecuador; museum architecture;
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public-advocacy design
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---
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## 1. Introduction
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The dominant response of AI text-to-image tools to architectural prompts
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is to invent an attractive building from a short stylistic description —
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producing images that are slick, stylistically confused, and spatially
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and culturally arbitrary, because nothing upstream of the image
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constrains it. Postle and Salingaros [1] proposed an alternative: place
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image generation at the *end* of a structured chain rather than at the
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start, so that an LLM synthesizes an experiential design narrative from a
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curated, human-readable set of Alexander's [2] patterns before any image
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exists, and treats that narrative — not a mood-board prompt — as the
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instrument that generates and disciplines images. That paper demonstrated
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the method on a hypothetical university department building and used two
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independent LLMs to cross-check a claim about the pattern-generated
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design's likely effect on occupant productivity.
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This paper reports two things the original paper could not: a **live
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deployment** of the method under real stakes, and a **method extension**
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that the deployment required.
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The deployment: the Government of Ecuador ran an open international call
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(Stage 1 deadline 17 February 2026) for the architectural preliminary
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project of the new National Museum of Ecuador, on a 13,004.65 m² site in
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Iñaquito, Quito. A winner was selected, but the winning design provoked
|
||||
sustained public objection over its failure to serve the people who will
|
||||
actually use it, and — at the time of writing — is on hold and may be
|
||||
abandoned. Independently of that competition, a small informal team,
|
||||
including both authors of this paper, used the method described in [1],
|
||||
extended as described below, to write and illustrate a complete
|
||||
counter-proposal: not a competition entry, but a public-advocacy document
|
||||
intended to influence the outcome of the debate while the winning
|
||||
scheme's fate is undecided. Unlike the earlier paper's case study, this
|
||||
deployment was not written for the purpose of demonstrating the method —
|
||||
the method was used because it was the fastest available way to produce
|
||||
a serious, human-centered alternative in the time available, and this
|
||||
paper is a report on what happened when it was used that way, in public,
|
||||
under scrutiny.
|
||||
|
||||
The extension: the original method combined a pattern subset with a
|
||||
project brief. For a museum expected to express Ecuadorian cultural
|
||||
identity as much as to organize human activity, a pattern subset alone
|
||||
was not sufficient — Alexander's patterns govern human/organizational
|
||||
relationships (how people arrive, gather, move, rest) but say little
|
||||
about how a building should look, or which regional material and
|
||||
ornamental vocabulary it should draw from. We therefore added a third
|
||||
input, a *form language*, following the theoretical distinction Salingaros
|
||||
sets out in "Two Languages for Architecture" [3]: a pattern language
|
||||
encodes rules for how human beings interact with built form, while a form
|
||||
language encodes geometric and tectonic rules for how matter is put
|
||||
together, and the two are jointly necessary — a form language that is not
|
||||
adaptive to human sensibility cannot connect to a pattern language, and a
|
||||
pattern language has no way to become a specific building without a form
|
||||
language. Section 3 reports how this form-language instrument was
|
||||
produced, and how we generalized its production into a reusable template.
|
||||
|
||||
The rest of the paper is a case study of what happens when this
|
||||
three-input method is run twice, independently, from the same shared
|
||||
inputs, in public, and then subjected to informal peer critique. Section
|
||||
2 gives the background of the competition and the specific, named
|
||||
failures the counter-proposal was written to avoid. Section 3 describes
|
||||
the method extension. Section 4 reports the worked example as two
|
||||
divergent tracks. Section 5 reports reception at a public symposium,
|
||||
including a substantive critique that the method, in its current form,
|
||||
does not yet produce a coordinated plan. Section 6 discusses this and
|
||||
other limitations honestly. Section 7 proposes, as future work, the
|
||||
instrument this critique implies is missing. Section 8 concludes.
|
||||
|
||||
## 2. Background: The Museo Nacional del Ecuador Competition and Its Discontents
|
||||
|
||||
The National Museum of Ecuador holds the country's national collection —
|
||||
over 1.2 million objects and documents spanning roughly 12,000 years,
|
||||
across five reserves (archaeology, colonial and republican art, modern
|
||||
and contemporary art, a human-sciences library, and a historical
|
||||
archive) — of which the institution states that under 1% can currently
|
||||
be exhibited at once, for lack of space. The Stage 1 open call sought a
|
||||
preliminary architectural project for a new building of at least 25,000
|
||||
m² on a 13,004.65 m² plot at the corner of Av. Eloy Alfaro and Av. de la
|
||||
República in the Iñaquito parish of Quito, diagonally across from La
|
||||
Carolina Park — one of Quito's most-visited public spaces, itself drawing
|
||||
on the order of 400,000 visits a month — with direct access to the La
|
||||
Carolina Metro station.
|
||||
|
||||
A winning scheme was selected, but has since drawn considerable public
|
||||
objection. Independently of this paper's authors, a critique of the
|
||||
winning proposal was recorded and circulated, analyzing it against
|
||||
human-centered design and pattern-language principles, with
|
||||
eye-tracking-derived visual-attention data supporting several of its
|
||||
claims. That critique named specific, concrete failures rather than
|
||||
general aesthetic complaints: an entrance that visual-attention scans
|
||||
showed users could not locate (98% of attention going to non-entrance
|
||||
openings and parked cars); blank facades assessed as generating anxiety
|
||||
rather than welcome; and other legibility and human-scale failures. We
|
||||
mined this critique for named, evidenced failures and mapped each to the
|
||||
pattern(s) in our subset that directly counters it (e.g., illegible
|
||||
entrances countered by Main Entrance / Entrance Transition / Entrance
|
||||
Room), so that the counter-proposal's design decisions would explicitly
|
||||
and traceably steer clear of documented problems, not just gesture at
|
||||
being different in tone.
|
||||
|
||||
The counter-proposal — *Casa de la Memoria Andina*, in Postle's track;
|
||||
*Casa de la Memoria Ecuatoriana*, in Salingaros' — is the product
|
||||
described in the rest of this paper.
|
||||
|
||||
## 3. Method Extension: A Third Input — the Form Language
|
||||
|
||||
### 3.1 Two Complementary Languages
|
||||
|
||||
Salingaros' theoretical framework [3] holds that a pattern language and a
|
||||
form language are distinct and jointly necessary. The pattern language
|
||||
supplies the *organizational code*: which spatial relationships make a
|
||||
building legible and humane — where entrances go, how circulation reads,
|
||||
how outdoor rooms catalyze use. The form language supplies the *cultural
|
||||
code*: how the building meets the ground, how walls and roofs are built,
|
||||
which materials, colors, and ornament belong to the place, and where they
|
||||
are permitted to concentrate. A pattern-generated design without a form
|
||||
language has no way to decide what it is made of or what it looks like; a
|
||||
form language without a pattern language risks producing a building that
|
||||
looks locally authentic but is organizationally illegible or hostile to
|
||||
use. The original paper [1] used only the first instrument. This project
|
||||
required both.
|
||||
|
||||
### 3.2 The Ecuadorian Form Language Grammar
|
||||
|
||||
For this project, Salingaros produced a project-specific form-language
|
||||
grammar, the *Ecuadorian Form Language Grammar*, developed after
|
||||
discussion with a Quito-based designer and self-builder and synthesized
|
||||
by an LLM from open-source reference imagery. Rather than a set of
|
||||
historical facades to imitate, it is written as a *generative* vocabulary:
|
||||
a stratified tectonic sequence from dark Ecuadorian andesite at the
|
||||
plinth, through thick limewashed tapial and adobe at the lower and middle
|
||||
levels, to lighter bahareque and timber at the crown, under red clay tile
|
||||
roofs with deep *aleros*; a spatial lexicon of named local elements
|
||||
(*atrio*, *zaguán*, *corredor*, *balcón corrido*, *mirador*, *canales*,
|
||||
*rejas*); a restrained base color system ("Quito White & Andesite") with
|
||||
a wider selectable palette; and an ornament system concentrating
|
||||
geometric *chakana* and diamond-course motifs at base, threshold, and
|
||||
crown, plus a single permitted figurative *retablo* episode — with
|
||||
explicit prohibitions against superficial historicism, arbitrary facade
|
||||
color patches, and decoration applied without tectonic reason. Where the
|
||||
pattern language tells the building how to work, the form grammar tells
|
||||
it how to belong.
|
||||
|
||||
### 3.3 Templating the Form-Language Step
|
||||
|
||||
The Ecuadorian Form Language Grammar was originally produced by a bespoke,
|
||||
two-step prompting process specific to this project: an initial
|
||||
exploratory prompt asking an LLM to research vernacular and historical
|
||||
form across the region and propose a generative grammar rather than a
|
||||
style to copy, followed by a second prompt narrowing scope to the
|
||||
specific site and climate while retaining the wider regional vocabulary.
|
||||
This process was not, as originally run, reusable — it existed only as a
|
||||
conversational transcript specific to Quito.
|
||||
|
||||
We generalized it into `form-language-prompt-template.md`, a single-shot
|
||||
prompt template with placeholder fields for typology, region,
|
||||
site/climate, and historical strata, that collapses the two-step process
|
||||
into one prompt and produces a grammar document in the same structural
|
||||
shape (tectonic sequence, spatial lexicon, composition syntax, color and
|
||||
ornament systems) as the Ecuadorian worked example — analogous to how the
|
||||
web-based pattern-subset tool in [1] generalized manual pattern curation
|
||||
into a reusable instrument.
|
||||
|
||||
To check that this generalized, rather than merely described, we ran the
|
||||
template a second time on a project unrelated to Ecuador: *Harbor House*,
|
||||
a travellers' inn intended to relieve pressure on homeless services, sited
|
||||
in Sheffield, South Yorkshire — a different typology, region, and
|
||||
climate, produced by the paper's first author. This second run also used
|
||||
an LLM configuration with real web search available, so climate figures
|
||||
and precedent references were checked against live sources and cited
|
||||
inline rather than drawn purely from training-data recollection,
|
||||
demonstrating the template is compatible with a stricter, source-checked
|
||||
mode of use as well as the original's. The resulting document
|
||||
(`templates/examples/sheffield.md`) follows the same section shape as the
|
||||
Ecuadorian grammar while producing an entirely different vocabulary — dark
|
||||
gritstone and coursed rubble rather than andesite, slate and Yorkshire
|
||||
vernacular roof forms rather than red clay tile — which is the evidence
|
||||
that the template captures a reusable *shape*, not a repackaging of
|
||||
Ecuador-specific content.
|
||||
|
||||
## 4. Worked Example: Two Independent Deployments from Shared Inputs
|
||||
|
||||
### 4.1 Shared Inputs
|
||||
|
||||
Both tracks reported below share exactly two upstream instruments plus a
|
||||
condensed brief: a project-specific pattern subset of 55 patterns from
|
||||
Alexander, Ishikawa, and Silverstein [2], curated using the APL-Companion
|
||||
web tool described in [1] and prepared for this project by Salingaros;
|
||||
and the Ecuadorian Form Language Grammar described in §3.2. Both tracks
|
||||
also drew on the same condensed brief and the same named-failure critique
|
||||
described in §2. From that point, the two tracks are independent LLM
|
||||
runs, by different authors, producing different outputs.
|
||||
|
||||
### 4.2 Track A: Four-Stakeholder Narrative Synthesis
|
||||
|
||||
Following the narrative-writing approach of [1] §4.2, Postle's track
|
||||
wrote four separate experiential narratives, one per stakeholder
|
||||
viewpoint (general visitor, museum staff, school group, and
|
||||
indigenous/community stakeholders whose heritage the collection
|
||||
represents), each independently grounded in the shared pattern subset and
|
||||
form-language grammar, and cross-checked against a shared "chassis"
|
||||
document of fixed invariants — site data, the material/color/ornament
|
||||
systems, named circulation realms, and where each part of the collection
|
||||
lives — so that a detail asserted by one stakeholder's narrative (a
|
||||
material, a color, a named place) is never contradicted by another's.
|
||||
The four narratives were then combined **in full**, not condensed, into a
|
||||
single public presentation document, deliberately without pattern numbers
|
||||
or grammar codes, since it is written to be read by the public, not by
|
||||
practitioners. Thirteen illustration prompts were written, each
|
||||
self-contained (the full shared style guide pasted literally into every
|
||||
prompt, not cross-referenced), and generated externally via Midjourney,
|
||||
producing images in a **warm architectural watercolor and gouache
|
||||
register** — a painted presentation drawing, not a photo-realistic
|
||||
render, with lighting, weather, and a consistent cast of figures held
|
||||
constant across the set.
|
||||
|
||||
### 4.3 Track B: Single Merged Narrative
|
||||
|
||||
Salingaros' track produced a single narrative, *Casa de la Memoria
|
||||
Ecuatoriana*, merged from an initial LLM draft and a second LLM pass
|
||||
explicitly asked to reconcile it against the same pattern subset and form
|
||||
language, then illustrated with 25 images from ChatGPT, in a markedly
|
||||
more **photo-realistic register**. This track is also where the
|
||||
project's clearest evidence for an iterative, natural-language critique
|
||||
loop comes from: successive rounds of generated images were rejected and
|
||||
corrected in plain language rather than by editing pixels — a patio that
|
||||
read as faux-antique with trip hazards was regenerated with flush,
|
||||
level pavers; an entrance that did not read as a front door on approach
|
||||
was replaced by an axial view with a projecting five-bay portal; a
|
||||
building raised too far above the street was brought down to sidewalk
|
||||
grade; monochromatic tiled columns foreign to the context were
|
||||
regenerated with patterned azulejos; and overly white interiors,
|
||||
arbitrary facade color patches, and modernist metal railings were each
|
||||
identified and revised. Each correction traced back to an explicit
|
||||
violation of the pattern subset or form grammar, and each cycle of
|
||||
criticism and regeneration took minutes, not days.
|
||||
|
||||
### 4.4 Convergence and Divergence
|
||||
|
||||
Table 1 summarizes the two tracks.
|
||||
|
||||
| | Track A (Postle) | Track B (Salingaros) |
|
||||
|---|---|---|
|
||||
| Narrative structure | 4 stakeholder-viewpoint narratives, combined in full | 1 merged narrative |
|
||||
| Output document | `docs/counter-proposal.md` | `docs/3.Casa-de-la-Memoria-Ecuatoriana-*.txt` |
|
||||
| Image generator | Midjourney | ChatGPT |
|
||||
| Image count | 13 | 25 |
|
||||
| Image register | watercolor / gouache illustration | photo-realistic |
|
||||
| Consistency mechanism | shared chassis document (invariants) | iterative natural-language critique loop |
|
||||
|
||||
Despite independent execution by different authors with no coordination
|
||||
on wording, both tracks converged on the same high-level design moves
|
||||
required by the shared inputs: a stratified material sequence from stone
|
||||
base to timber crown; an *atrio* / *zaguán* / patio arrival sequence; a
|
||||
legible, projecting entrance portal; warm-toned interiors with restrained
|
||||
concentrated ornament; and circulation organized around named realms
|
||||
rather than corridors. This convergence is evidence that the pattern
|
||||
subset and form-language grammar meaningfully constrain the output even
|
||||
under independent LLM runs — the shared instruments, not authorial
|
||||
coordination, are doing the constraining.
|
||||
|
||||
The two tracks diverge sharply, however, in visual register: Track B's
|
||||
images are consistently judged — by the authors and by symposium
|
||||
participants (§5) — as the more visually compelling and architecturally
|
||||
credible of the two. We do not yet know why. Candidate variables include
|
||||
the image generator itself, differences in prompt phrasing between the
|
||||
two tracks, and how literally each generator resolves the same
|
||||
form-language vocabulary into imagery; we have not isolated which, if
|
||||
any, of these accounts for the gap, and we report it here as an open
|
||||
finding rather than an explained one (see §6.3, §7).
|
||||
|
||||
## 5. Reception: Informal Peer Engagement at the July 2026 Symposium
|
||||
|
||||
On 23 July 2026, this counter-proposal project was discussed at a public
|
||||
symposium including Salingaros, Nir Buras (Classic Planning Academy),
|
||||
Pablo Álvarez Funes, and others, walking through Track B's narrative and
|
||||
image process. We treat this as informal peer engagement, valuable
|
||||
precisely because it included substantive disagreement rather than only
|
||||
endorsement.
|
||||
|
||||
Participants praised the images' consistency of "spirit" — not pixel
|
||||
repetition of a single scheme, but a recognizable design language holding
|
||||
across independently generated views. But a practicing architect on the
|
||||
panel, Pablo Álvarez Funes, raised a critique that is the paper's most
|
||||
important piece of reception data: *"this Nikos did not create a
|
||||
plan... we need to give a response to the program and ensure that all
|
||||
the spaces work coordinately."* He characterized the current output as
|
||||
a set of well-crafted individual rooms rather than a linked building,
|
||||
adding that close inspection of the images — *"especially at the
|
||||
corners"* — reveals AI hallucinations, and summarized bluntly: *"these
|
||||
are images. These are flavors. These are not solutions."* The same
|
||||
discussion noted the continuing, non-optional role of licensed
|
||||
architects in taking such material to floor plans, elevations, sections,
|
||||
and mechanical/electrical/plumbing/structural coordination before
|
||||
anything could be built.
|
||||
|
||||
This critique is correct as stated, and it is not new information to the
|
||||
authors — it names precisely the gap described honestly in the original
|
||||
paper's limitations section [1] and inherited unchanged by this
|
||||
extension: the method produces experiential narratives and illustrative
|
||||
images of a design, not a coordinated plan. What the symposium adds is an
|
||||
unsolicited, on-the-record confirmation from outside the authors' own
|
||||
team that this gap is the one that most needs addressing next, which is
|
||||
the direct motivation for §7.
|
||||
|
||||
## 6. Discussion: Drawbacks and Open Questions
|
||||
|
||||
### 6.1 No Coordinated Floor Plan
|
||||
|
||||
Because each narrative and each image is generated independently against
|
||||
shared *rules* rather than against a shared *drawing*, spatial claims
|
||||
made across different illustrations of the same design are not
|
||||
guaranteed to reconcile. A concrete instance from this project: the
|
||||
narrative describes the entrance portal as composed in "a rhythm of five
|
||||
bays," but the corresponding illustration shows three arches. Rather than
|
||||
regenerating the image to match the text or rewriting the text to match
|
||||
the image, we treated the narrative as the design intent of record — it
|
||||
is the instrument the pattern subset and form grammar were synthesized
|
||||
into, and is where every design claim is traceable — and loosened only
|
||||
the image's caption to avoid asserting a bay count the image does not
|
||||
show. This is a defensible correction for a single instance, but it does
|
||||
not scale: it works because a human noticed the discrepancy and had a
|
||||
clear rule (text over image) for resolving it, not because the method
|
||||
prevents such discrepancies from arising.
|
||||
|
||||
### 6.2 No Mechanism for Genuine Public Participation
|
||||
|
||||
The method as deployed here produces material intended to influence
|
||||
public debate, but has no built-in mechanism for the public to actually
|
||||
participate in shaping it beyond viewing and reacting to finished
|
||||
narratives and images — e.g., informal social-media voting on generated
|
||||
images. Symposium participants warned that such unfiltered voting
|
||||
degenerates without curation (toward whichever image is most
|
||||
immediately eye-catching rather than most sound), which is a caution
|
||||
worth taking seriously if this method is to be used for participatory
|
||||
design rather than only advocacy communication.
|
||||
|
||||
### 6.3 Unexplained Divergence in Image Register
|
||||
|
||||
As reported in §4.4, Track B's photo-realistic images are judged more
|
||||
compelling than Track A's watercolor-register images by both authors and
|
||||
by symposium participants, despite both tracks sharing the same pattern
|
||||
subset and form-language grammar. We flag this honestly as an
|
||||
unresolved variable of the method's current image-generation stage,
|
||||
not as a property of one generator being categorically better than the
|
||||
other — the two tracks differ in generator, in prompt style, and in how
|
||||
much each image is asked to carry unaided (13 broadly-scoped prompts vs.
|
||||
25 more narrowly-scoped prompts including deliberate parallel color and
|
||||
material-cost variants). Isolating the cause would require a controlled
|
||||
comparison outside the scope of this paper (see §7).
|
||||
|
||||
### 6.4 Unsettled Questions of Authorship and Structural Readiness
|
||||
|
||||
As with the original method [1], these outputs are concept studies, not
|
||||
architecture: structure, egress, conservation environments, accessibility
|
||||
compliance, and budget still require conventional technical development,
|
||||
and questions of authorship and intellectual property in AI-assisted
|
||||
imagery remain unsettled in general, not resolved by anything specific to
|
||||
this project.
|
||||
|
||||
## 7. Future Work: Toward an Explicit Plan-Layout Layer
|
||||
|
||||
The critique in §5 — that the method, as run here, produces "flavors, not
|
||||
solutions" because there is no shared floor plan behind the independently
|
||||
generated images — is the clearest and most actionable finding this
|
||||
deployment produced, and we take it as the method's next required
|
||||
instrument rather than a criticism to be argued down.
|
||||
|
||||
We propose, without yet prototyping, an explicit **plan-layout
|
||||
generation** stage inserted between the existing pattern-subset/
|
||||
form-language inputs and the narrative-generation stage. The pattern
|
||||
subset already encodes spatial and adjacency relationships implicitly —
|
||||
patterns concerning building complexes, wings, connected buildings,
|
||||
circulation realms, and entrance transitions are themselves claims about
|
||||
how spaces relate to one another — and the project-chassis document used
|
||||
in Track A already names specific circulation realms and collection
|
||||
placements as fixed invariants. The proposal is to make this implicit
|
||||
spatial information explicit: prompt an LLM to derive a bubble-diagram or
|
||||
adjacency layout directly from the pattern subset and brief, before
|
||||
narrative generation, so that subsequent narratives and image prompts —
|
||||
whether one combined narrative or several stakeholder narratives, as in
|
||||
this project — are *derived from* one shared layout rather than each
|
||||
independently inventing a version of it. This would not, on its own,
|
||||
produce a buildable plan; it would produce a shared spatial scaffold that
|
||||
narratives and images could be checked against, directly narrowing the
|
||||
class of discrepancy described in §6.1.
|
||||
|
||||
This is proposed as future work in this paper. A separate, exploratory
|
||||
prototype of this idea exists as an open, lower-priority research task
|
||||
outside this paper's critical path, and may be folded into a revision of
|
||||
this section if it produces something worth reporting before publication;
|
||||
its absence does not weaken any claim made above.
|
||||
|
||||
A secondary, lower-priority open question is the unexplained image-register
|
||||
gap of §6.3: a controlled comparison — the same narrative text and the
|
||||
same style-guide language, run through both generators — would help
|
||||
isolate whether the gap is attributable to the generator, the prompt, or
|
||||
some other variable, but is not required to support this paper's central
|
||||
claims.
|
||||
|
||||
## 8. Conclusion
|
||||
|
||||
This paper reported a live deployment of an extended version of the LLM
|
||||
pattern-language synthesis method introduced in [1], used in earnest, in
|
||||
public, under real contested stakes, rather than as a hypothetical case
|
||||
study. The deployment required a genuine method extension — a third
|
||||
input, the form language, following Salingaros' theoretical distinction
|
||||
between the human/organizational and geometric/tectonic languages of
|
||||
architecture — which we generalized from a bespoke, project-specific
|
||||
prompting process into a reusable template and validated on an unrelated
|
||||
project. Run twice, independently, by different authors, from the same
|
||||
shared pattern subset and form language, the method converged on
|
||||
compatible design moves while producing genuinely different narratives
|
||||
and a qualitatively different, currently unexplained, image register.
|
||||
Presented to informal peer scrutiny, the work drew a substantive
|
||||
critique, not only praise: that the method, as deployed, produces images
|
||||
without a coordinated plan behind them. We agree with that critique, and
|
||||
propose the explicit plan-layout instrument it implies as the method's
|
||||
next necessary extension. Design knowledge, once written down as
|
||||
readable rules rather than embodied only in a single expert's intuition,
|
||||
can be executed, checked, criticized, and revised at the speed of
|
||||
conversation — but a pattern language and a form language, however well
|
||||
executed, are not yet a plan, and the honest next step for this method is
|
||||
to build the instrument that makes them one.
|
||||
|
||||
---
|
||||
|
||||
## References
|
||||
|
||||
1. Postle, B.; Salingaros, N.A. LLM and Pattern Language Synthesis: A
|
||||
Hybrid Tool for Human-Centered Architectural Design. *Buildings* 2025,
|
||||
15, 2400. https://doi.org/10.3390/buildings15142400
|
||||
2. Alexander, C.; Ishikawa, S.; Silverstein, M. *A Pattern Language:
|
||||
Towns, Buildings, Construction*; Oxford University Press: New York,
|
||||
NY, USA, 1977.
|
||||
3. Salingaros, N.A. Two Languages for Architecture. In *A Theory of
|
||||
Architecture*; Sustasis Press, 2006; revised 2014.
|
||||
|
||||
## Data and Materials Availability
|
||||
|
||||
All primary materials referenced in this paper are project documents
|
||||
rather than independently published data, and are cited here by their
|
||||
path in the originating repository for traceability rather than as
|
||||
formal references:
|
||||
|
||||
- Pattern subset: `ref/A Pattern Language Ecuador National Museum.md`
|
||||
- Ecuadorian Form Language Grammar: `ref/Ecuadorian_Form_Language_Grammar.md`
|
||||
- Condensed brief and named-failure critique:
|
||||
`ref/brief-condensed.md`, `ref/critique-failures.md`
|
||||
- Shared invariants ("chassis"): `ref/project-chassis.md`
|
||||
- Form-language prompt template: `templates/form-language-prompt-template.md`
|
||||
- Template validation on a second project: `templates/examples/sheffield.md`
|
||||
- Track A narratives and public document: `narratives/01-visitor.md`
|
||||
through `narratives/04-community.md`; `docs/counter-proposal.md`;
|
||||
illustration prompts, `docs/illustration-prompts.md`; images,
|
||||
`docs/images/`
|
||||
- Track B narrative and images:
|
||||
`docs/3.Casa-de-la-Memoria-Ecuatoriana-Design-Narrative-Museo-Nacional-del-Ecuador.txt`;
|
||||
`docs/images-salingaros/`; process report,
|
||||
`docs/From-Pattern-Language-to-Architectural-Image-Salingaros-revised.md`
|
||||
- Symposium transcript: `ref/youtube-transcript-2026-07-23.txt`
|
||||
- Winning-scheme critique transcript: `ref/youtube-transcript.txt`
|
||||
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