add reference docs

CLAUDE.md

@@ -35,8 +35,9 @@ and combine patterns. The paper's workaround:
 1. A web tool ([APL-Companion](https://apl-companion.netlify.app/apl.html))
    lets someone familiar with the patterns curate a **project-specific
    subset** of the 253, then export it as a condensed PDF (titles +
-   paraphrased summaries only, no navigation chrome).
+   paraphrased summaries only, no navigation chrome). We convert these PDF
-2. That PDF is fed to an LLM as context, along with a prompt describing the
+   exports to Markdown once received (see Conventions below).
+2. That pattern subset is fed to an LLM as context, along with a prompt describing the
    project (purpose, scale, local context) and a request for a **narrative
    description of the human experience** of the building — look, feel, and
    ornamental treatment — grounded only in the selected patterns.
@@ -55,9 +56,9 @@ synthesis → evaluation*.
 
 ## Our process for this project
 
-1. **Pattern subset** — Bruno provides a subset pattern language for a
+1. **Pattern subset** — a subset pattern language for a national museum,
-   national museum, built with the APL-Companion tool, exported as a PDF into
+   built with the APL-Companion tool, prepared by Nikos Salingaros (not
-   `ref/`.
+   Bruno) and added to `ref/`.
 2. **Condense the brief** — work through the official brief (see Reference
    material below) and extract only the aspects that serve genuine human
    needs (programmatic requirements, collection scale, site, functional
@@ -75,6 +76,9 @@ synthesis → evaluation*.
    - Museum staff (curators, conservators, educators)
    - School group / children
    - Indigenous / community stakeholders whose heritage is represented
+   Note that it is important that the narratives are mutually consistent,
+   features described in a narrative from the point of view of one stakeholder
+   must not contradict those perceived by another stakeholder.
 
 ## Deliverable
 
@@ -89,6 +93,23 @@ and record here once the narrative-writing step actually begins.
 
 - `buildings-15-02400-v2.txt` — the Postle & Salingaros paper this project's
   method is based on.
+- `A Pattern Language Ecuador National Museum.md` — the project-specific
+  pattern subset (55 patterns from Alexander/Ishikawa/Silverstein, numbered
+  and paraphrased by the APL-Companion tool), prepared by Nikos Salingaros
+  for this museum project. This is the core design-constraint input for
+  narrative writing.
+- `Ecuadorian_Form_Language_Grammar.md` — "Ecuadorian Form Language — Quito
+  Grammar", a companion design-grammar module (generated by Kimi.ai, source
+  unclear beyond that) covering Quito's climate response rules, a vocabulary
+  of regional/historical form elements (indigenous, pre-Columbian, colonial,
+  baroque, regional), composition syntax, and color/ornament systems. Written
+  as a prompt module for an LLM. Relevant to us for the "look, feel, and
+  ornamental treatment" part of narrative-writing (per the paper's Section
+  4.2 approach) grounded in authentic Ecuadorian vernacular character, and
+  for glossary terms (zaguán, corredor, zócalo, alero, etc.) worth reusing
+  verbatim in our narratives. Its final output-template step ("camera-ready
+  visual summary" for image generation) is not relevant to us since we are
+  not producing images.
 - `Muna Technical Bases for Stage 1.txt` — the official Stage 1 open call
   document: scope, site (Av. Eloy Alfaro / Av. de la República, Iñaquito,
   Quito, 13,004.65 m² plot, min. 25,000 m² building), schedule, selection
@@ -105,14 +126,19 @@ and record here once the narrative-writing step actually begins.
   others) of the winning proposal, analysing it against human-centered
   design/pattern-language principles. Use per "Condense the brief" above.
 
-## Not yet received / open items
+## Conventions
 
-- Pattern subset PDF for a national museum (Bruno to add to `ref/`).
+- Reference documents received as PDF are converted to Markdown (or plain
+  text, for documents like the academic paper where reflowing into headed
+  sections isn't worth the effort) and the PDF is then deleted — keeps
+  everything in `ref/` greppable and quotable rather than needing repeated
+  page-range PDF reads. Check conversions carefully: PDF text extraction can
+  silently mis-join hyphenated compounds and drop ligatures/symbols.
 
 ## Status
 
-Project just started. This file will be updated as we condense the brief,
+Pattern subset and the Ecuadorian Form Language Grammar have been received.
-receive the pattern subset, and draft narratives.
+Next: condense the brief (step 2), then draft narratives (step 3).
 
 
 <!-- BEGIN BEADS INTEGRATION v:1 profile:minimal hash:7510c1e2 -->

ref/A Pattern Language Ecuador National Museum.md

@@ -0,0 +1,349 @@
+# A Pattern Language — National Museum of Ecuador (subset)
+
+Converted from `A Pattern Language Ecuador National Museum.pdf` (companion tool export, prepared by Nikos Salingaros). This is a project-specific subset of Christopher Alexander, Sara Ishikawa and Murray Silverstein's *A Pattern Language* (1977) — problem/solution text here is paraphrased by the APL-Companion tool, not quoted verbatim from the original book. `*` and `**` after a pattern title reproduce the tool's own confidence/importance markers.
+
+## 95 Building Complex **
+
+Problem: A building cannot truly serve human needs unless it comprises smaller buildings or components that reflect its internal social organization.
+
+Solution: Avoid constructing large monolithic structures. When possible, translate your building program into a complex of elements that express the actual social relationships of the situation. In lower-density areas, this may manifest as clusters of small buildings linked by arcades, paths, bridges, shared gardens, and walls.
+
+In higher-density settings, a single building can function as a complex if its key components are clearly defined while remaining part of a unified three-dimensional composition.
+
+Even smaller structures like houses can be conceptualized as "building complexes"—perhaps featuring elevated sections with wings and adjoining cottages.
+
+## 96 Number of Stories *
+
+Problem: Within the established four-story height limit, what is the optimal height for your specific buildings?
+
+Solution: Begin by calculating your required square footage of built space, then divide by the site area to determine the floor area ratio. Select your building height based on this ratio and the heights of surrounding structures, using the provided reference table. Under no circumstances should you build on more than 50 percent of the available land.
+
+## 97 Shielded Parking *
+
+Problem: Large parking structures filled with cars create inhospitable, lifeless environments that pedestrians avoid. Yet for drivers, parking entrances effectively serve as main entrances to buildings and need to remain visible.
+
+Solution: Conceal substantial parking lots or garages behind natural barriers to shield vehicles and parking structures from external view. These screening elements might include buildings, connected houses, housing hills, earth berms, or shops.
+
+Design the parking entrance as a natural gateway to the buildings it serves, positioned so that the main building entrance is clearly visible from the parking entrance point.
+
+## 98 Circulation Realms **
+
+Problem: Disorientation is a significant issue in many contemporary building complexes. People frequently lose their bearings, causing considerable mental distress.
+
+Solution: Configure large buildings and building clusters so that reaching any interior destination requires passing through a sequence of distinct realms. Each realm should be marked by a gateway, with spaces becoming progressively smaller as one moves deeper into the sequence. Select realms that can be easily named, enabling clear directional instructions by simply identifying which realms to traverse.
+
+## 99 Main Building *
+
+Problem: A building complex without a focal point resembles a body without a head—it lacks essential organization and identity.
+
+Solution: For any building group, identify which structure houses the most essential function—the building that represents the soul of the group as a human institution. Develop this as the main building, giving it a central position and higher roof to establish its prominence.
+
+Even in dense complexes that form a single building, make the primary section taller and more visually prominent than surrounding elements, ensuring that attention naturally gravitates toward the most important part.
+
+## 101 Building Thoroughfare
+
+Problem: Public building complexes that cannot be fully serviced by outdoor pedestrian walkways require an alternative to conventional corridors for indoor circulation.
+
+Solution: In situations where climate or density necessitates moving primary circulation routes indoors, construct them as building thoroughfares. Position each thoroughfare to function as a convenient shortcut, maintaining continuity with the external public streets and featuring wide, accessible entrances. Along the edges, incorporate windows, seating areas, counters, and entrances that extend into the hall, making the building's primary functions visible to passersby. Design these thoroughfares wider than standard corridors—minimum 11 feet, but preferably 15-20 feet wide— with high ceilings (at least 15 feet), potentially including glazed roofing and lower-height areas along the perimeter. In multi-story thoroughfares, walkways on different levels can be utilized to create these lower-height spaces along the edges.
+
+## 103 Small Parking Lots *
+
+Problem: Large-scale parking facilities significantly degrade the human experience of the landscape.
+
+Solution: Develop compact parking areas accommodating only 5-7 vehicles each, enclosed by garden walls, hedges, fences, embankments, and trees to render the vehicles nearly invisible from outside. Distribute these small lots with a minimum of 100 feet between them.
+
+## 105 South Facing Outdoors **
+
+Problem: In all but desert environments, people gravitate toward sunlit outdoor spaces and avoid shaded areas.
+
+Solution: Position buildings on the northern side of their associated outdoor spaces, keeping the outdoor areas to the south. Avoid creating deep bands of shade between buildings and the sunny portions of exterior spaces.
+
+## 106 Positive Outdoor Space **
+
+Problem: Outdoor areas that are merely leftover spaces between buildings typically remain unused.
+
+Solution: Design all outdoor spaces surrounding and between buildings to have positive, intentional qualities. Provide each space with some degree of enclosure by using building wings, trees, hedges, fences, arcades, and trellised walkways to define its boundaries. This creates distinct entities with clear spatial definition rather than amorphous areas that dissipate around corners.
+
+## 107 Wings of Light **
+
+Problem: Contemporary architecture often ignores natural illumination, relying predominantly on artificial lighting. However, buildings that minimize natural light as the primary illumination source create environments unsuitable for extended human occupation.
+
+Solution: Structure each building to divide into wings that roughly correspond to the most significant natural social groupings within the building. Design each wing to be elongated and as narrow as feasible—never exceeding 25 feet in width.
+
+## 108 Connected Buildings *
+
+Problem: Buildings that stand in isolation reflect the fragmentation of an unhealthy society.
+
+Solution: Whenever possible, integrate your building with existing structures in the surrounding area. Avoid maintaining setbacks between buildings; instead, strive to design new structures as extensions of established ones.
+
+## 110 Main Entrance **
+
+Problem: The location of a building's main entrance(s) represents perhaps the most crucial decision in the development of its floor plan.
+
+Solution: Situate the building's main entrance where it can be readily observed from primary approach routes, and give it a distinctive, prominent form that projects outward from the building façade.
+
+## 112 Entrance Transition **
+
+Problem: Structures, particularly residential ones, that incorporate a thoughtful transition between street and interior create a more serene atmosphere than those with direct street access.
+
+Solution: Create an intermediate space between the street and front door. Guide the connecting pathway through this transitional area, marking it with various sensory shifts—changes in lighting, acoustics, direction, surface texture, elevation, enclosure (possibly using gateways), and most importantly, a change in visual perspective.
+
+## 114 Hierarchy of Open Space *
+
+Problem: When outside, individuals instinctively seek positions where their backs are protected while facing toward a more expansive area beyond their immediate surroundings.
+
+Solution: In designing any outdoor space—garden, terrace, street, park, public gathering area, or courtyard—ensure two key elements. First, create at least one smaller space that overlooks it and serves as a natural backdrop. Second, position the space and its openings to provide views of at least one larger, more distant area. This arrangement gives every outdoor space a natural "back," allowing anyone who positions themselves against this backdrop to face outward toward a more expansive vista.
+
+## 115 Courtyards Which Live **
+
+Problem: Contemporary building courtyards often remain unused and lifeless. Though intended to function as private open spaces for people's enjoyment, they frequently end up abandoned, filled with gravel and abstract art installations rather than human activity.
+
+Solution: Position each courtyard to provide a view of a larger open area beyond. Ensure that at least two or three doorways open from the building directly into the courtyard, with natural pathways between these doors crossing through the courtyard space. Along one edge, adjacent to a doorway, construct a roofed veranda or porch that seamlessly connects both the interior and the courtyard.
+
+## 116 Cascade of Roofs *
+
+Problem: Buildings rarely maintain structural and social integrity unless the floors descend toward the ends of wings and the roof correspondingly forms a cascading pattern.
+
+Solution: Conceptualize the entire building or complex as a system of interconnected roofs. Position the largest, tallest, and widest roofs above the most significant portions of the building. When detailing the roof layout, arrange smaller roofs to cascade from these larger ones, creating a stable, self-supporting system that aligns with the hierarchy of social spaces beneath.
+
+## 117 Sheltering Roof **
+
+Problem: The roof fulfills a fundamental role in our existence. The most basic structures are essentially just roofs. When a roof is concealed, when its presence cannot be sensed throughout the building, or when it serves no practical purpose, people lose an essential sense of protection and shelter.
+
+Solution: Create sloped roofs or vaulted ceilings with fully visible surfaces. Extend the eaves down low, particularly near entrances and pausing points, bringing them as low as 6'0" or 6'6". Integrate the top floor of each wing directly into the roof structure so that the roof doesn't merely cover the space but entirely envelops it.
+
+## 119 Arcades **
+
+Problem: Arcades—covered walkways at building edges that exist partially indoors and partially outdoors—serve a crucial function in facilitating human interactions with buildings.
+
+Solution: Construct arcades wherever paths run alongside buildings. Utilize these arcades primarily to connect buildings to one another, enabling pedestrians to move from place to place under the protection of these covered passages.
+
+## 120 Paths and Goals *
+
+Problem: Path design will only feel appropriate and comfortable when it harmonizes with the act of walking—a process far more nuanced than most people realize.
+
+Solution: Begin path layout by identifying goals at natural points of interest. Then connect these goals to form pathways. The paths may be either straight or gently curved between goals, with paving that expands around each goal point. Keep goals at moderate distances, never more than a few hundred feet apart from one another.
+
+## 121 Path Shape *
+
+Problem: Modern streets primarily serve as thoroughfares rather than places where people can linger and gather, contrary to their potential social function.
+
+Solution: Design public paths with a widened central area and narrower endpoints, creating an enclosed space that invites people to stay rather than merely pass through.
+
+## 122 Building Fronts *
+
+Problem: Building set-backs, originally implemented to ensure public welfare through adequate light and air for all structures, have ironically contributed significantly to the decline of streets as vibrant social environments.
+
+Solution: Never permit set-backs between streets, paths, or public land and the buildings that face them. These set-backs provide no valuable function and typically diminish the quality of open areas between buildings. Construct buildings directly adjacent to pathways; work to change regulations in communities where outdated building codes prevent this approach. Allow building frontages to adopt slightly irregular angles as they adapt to street contours.
+
+## 124 Activity Pockets **
+
+Problem: The vitality of a public square naturally develops around its perimeter. If this edge fails to function properly, the space never becomes animated with human activity.
+
+Solution: Encircle public gathering spaces with activity pockets—small, partially enclosed areas at the edges that extend into the open space between paths. These pockets should contain functions that naturally encourage people to pause and engage with the environment.
+
+## 125 Stair Seats *
+
+Problem: In active spaces, the most appealing spots are those elevated enough to provide perspective but low enough to keep people engaged with the activity.
+
+Solution: In public spaces where people tend to linger, incorporate a few steps at edges where staircases descend or where level changes occur. Make these elevated areas easily accessible from below, creating spaces where people can gather and sit to observe ongoing activities.
+
+## 128 Indoor Sunlight *
+
+Problem: When appropriate rooms have southern exposure, homes feel bright, cheerful and welcoming; when inappropriate rooms face south, homes can feel dark and dreary.
+
+Solution: Position the most significant rooms along the southern edge of the building, and extend the structure along the east-west axis.
+
+Adjust the layout to ensure appropriate rooms receive southeastern and southwestern sunlight. For instance: give common spaces full southern exposure, place bedrooms to the southeast, and position the porch to the southwest. For most climate zones, this requires a building shape that is elongated on the east-west axis.
+
+## 129 Common Areas at the Heart **
+
+Problem: Social groups - whether families, work teams, or school communities - cannot thrive without regular informal interactions among members.
+
+Solution: Establish a single shared space for each social group. Position it at the center of gravity of all spaces the group uses, and arrange it so that paths entering and exiting the building run tangentially to this central area.
+
+## 130 Entrance Room **
+
+Problem: When entering or exiting a building, people need a transitional space that serves as a passage both inside and outside the structure. This space functions as the entrance room.
+
+Solution: Create a light-filled room at the main entrance that bridges indoor and outdoor spaces, encompassing area both outside and inside the building. The exterior portion might resemble a traditional porch, while the interior could function as a hall or sitting area.
+
+## 131 The Flow Through Rooms
+
+Problem: Movement between rooms is equally important as the rooms themselves, and how this movement is arranged significantly impacts social interaction within those rooms.
+
+Solution: Minimize corridors and passages whenever possible. Instead, utilize public and common rooms as spaces for both movement and gathering. Arrange common rooms in a chain or loop pattern, enabling movement from room to room, with private rooms opening directly into these public spaces. In all cases, create generous indoor circulation paths that form wide, ample loops throughout the house, featuring views of fireplaces and large windows.
+
+## 133 Staircase as a Stage
+
+Problem: A staircase serves more than just connecting different floors. It constitutes its own space, volume, and integral part of the building; if this space isn't enlivened, it becomes a dead zone that fragments the building and disrupts its functional processes.
+
+Solution: Situate the main staircase in a prominent, central, and visible location. Design the entire staircase as a room (or as a courtyard if it's exterior). Integrate the stair with the room so they function as one unit, with the staircase descending around one or two walls of the room. Design the bottom of the stair to widen out with open windows or balustrades and broad steps, allowing people descending to participate in the room's activities while on the stairs, and encouraging those below to use the stairs as seating.
+
+## 159 Light on Two Sides of Every Room **
+
+Problem: Given options, individuals consistently prefer rooms illuminated from multiple sides, leaving spaces lit from just one direction largely unused and vacant.
+
+Solution: Position each room so it has exterior space on at least two sides, then install windows in these exterior walls to allow daylight to enter every room from multiple directions.
+
+## 160 Building Edge **
+
+Problem: Buildings are typically conceived as inward-focused structures centered around their internal spaces. The outward orientation of buildings is frequently overlooked in design considerations.
+
+Solution: Consider the building's edge as a substantive element with volume rather than a mere line or interface without depth. Create indentations along the building perimeter with areas that encourage people to pause. Develop spaces with depth and coverage - places to sit, lean, and stroll - especially at points along the perimeter that overlook engaging outdoor activities.
+
+## 161 Sunny Place **
+
+Problem: The southern-facing area immediately outside a building - that intersection between walls and ground where sunlight falls - needs deliberate development to create a space where people can enjoy the sunshine.
+
+Solution: Within a south-facing courtyard, garden, or yard, identify the location between the building and exterior that receives optimal sunlight. Develop this spot into a special sunny retreat - make it the primary outdoor space, suitable for working in the sun, installing a swing and special plantings, or sunbathing. Take particular care to position the sunny area where it's protected from wind. Even consistent mild breezes will prevent enjoyment of the most appealing location.
+
+## 163 Outdoor Room **
+
+Problem: Traditional gardens provide space for activities like lying in grass, swinging, playing croquet, growing flowers, or playing fetch with a dog. However, there's another way to experience the outdoors that gardens don't adequately address.
+
+Solution: Create an outdoor space with sufficient enclosure that it feels like a room despite being open to the sky. Define its corners with columns, consider partial roofing with a trellis or adjustable canvas, and establish "walls" using elements such as fences, sitting walls, screens, hedges, or the building's exterior walls.
+
+## 166 Gallery Surround *
+
+Problem: When occupants cannot exit a building onto balconies and terraces that overlook the surrounding outdoor space, neither they nor people outside have any medium helping them feel that the building and the broader public world are interconnected.
+
+Solution: At every level of the building where possible, construct elements such as porches, galleries, arcades, balconies, niches, outdoor seats, awnings, and trellised rooms along the building edges—particularly where they open to public spaces and streets—and connect them directly to interior rooms via doorways.
+
+## 167 Six-Foot Balcony **
+
+Problem: Balconies and porches that are less than six feet in depth rarely get used.
+
+Solution: When constructing a balcony, porch, gallery, or terrace, always ensure it's at least six feet deep. If feasible, recess at least a portion of it into the building rather than having it completely cantilevered out and separated from the building by a simple line, and include partial enclosure.
+
+## 168 Connection to the Earth **
+
+Problem: A house can feel disconnected from the surrounding natural environment unless its floors directly integrate with the earth around the structure.
+
+Solution: Link the building to its surrounding earth by creating a network of paths, terraces, and steps around its perimeter. Place these elements deliberately to create ambiguous boundaries— making it difficult to determine precisely where the building ends and the earth begins.
+
+## 171 Tree Places **
+
+Problem: When trees are planted or trimmed without consideration for the unique spaces they can create, they become essentially useless to the people who need them.
+
+Solution: When planting trees, arrange them according to their natural characteristics to form enclosures, avenues, squares, groves, and individual spreading specimens toward the center of open areas. Shape nearby buildings in response to the trees, ensuring that both the trees individually and the trees and buildings together create functional spaces for people.
+
+## 174 Trellised Walk **
+
+Problem: Trellised walkways possess a distinctive beauty. They're so unique and different from other path designs that they're almost archetypal in nature.
+
+Solution: For paths requiring special protection or intimacy, construct a trellis over the walkway and plant climbing flowers on it. Use the trellis to help define and shape the outdoor spaces on both sides of the path.
+
+## 191 The Shape of Indoor Space **
+
+Problem: The flawless geometric squares and rectangles characteristic of ultra-modern architecture lack meaningful connection to human needs or structural logic. They merely represent rigid ideals and fantasies that emerge when people become overly focused on systems and production methods.
+
+Solution: With some exceptions, design each indoor space or section of a space as an approximate rectangle, featuring relatively straight walls, near-right-angle corners, and a generally symmetrical vault covering each room.
+
+## 195 Staircase Volume *
+
+Problem: This pattern is included because our research has shown that non-professionals frequently miscalculate the volume required for staircases, resulting in plans that cannot be implemented.
+
+Solution: Create a two-story volume to house the staircase, whether it's straight, L-shaped, U- shaped, or C-shaped. The stairs may range from 2 feet wide (for very steep stairs) to 5 feet wide (for generous, gradual stairs). In all cases, the entire stairwell must constitute one complete structural bay with two-story height. Don't assume all stairs must conform to the "standard" 30-degree angle. The steepest stairs might almost resemble ladders, while the most generous can be as gradual as ramps and quite wide. When determining the exact slope of your stairs, remember the relationship: riser + tread = 17½ inches.
+
+## 202 Built-In Seats *
+
+Problem: Built-in seating offers comfort and luxury to buildings, but frequently fails in practice. Common issues include improper placement, insufficient width, incorrect back angle, poor viewing position, or uncomfortable hardness. This pattern provides guidance for creating truly functional built-in seats.
+
+Solution: Test the location before construction by placing an existing armchair or sofa in your intended position. Adjust it until you find an optimal spot. Leave it there for several days to verify you genuinely enjoy sitting there. If you find yourself naturally gravitating to sit in it, you've found the right location. Then construct your built-in seat with identical width and cushioning to ensure its success.
+
+## 205 Structure Follows Social Spaces **
+
+Problem: Buildings feel uncomfortable to occupants when the physical architecture (defined by columns, walls, and ceilings) doesn't align with the social spaces (defined by activities and human interactions).
+
+Solution: Establish this fundamental construction principle: never allow engineering requirements to dictate the building's form. Instead, position all load-bearing elements - columns, walls, and floors - to complement the social spaces within the building. The engineering structure should adapt to support human activities, rather than forcing social spaces to conform to structural necessities.
+
+## 206 Efficient Structure *
+
+Problem: Buildings employ various structural systems: column and beam, load-bearing walls with slab floors, vaults, domes, or tents. But which approach or combination is truly most efficient? What's the optimal way to distribute building materials to create strong, well-enclosed spaces while minimizing material usage?
+
+Solution: Design the building as a unified body of compressive material. Geometrically, envision it as a three-dimensional system of individually vaulted spaces, predominantly rectangular. Use thin load-bearing walls stiffened with intermittent columns. Reinforce wall junctions, connections between walls and vaults, and areas surrounding openings with additional thickness.
+
+## 207 Good Materials **
+
+Problem: Modern industrial society presents a fundamental conflict regarding building materials.
+
+Solution: Select only biodegradable materials with low energy requirements that can be easily modified on-site. For primary structural elements, consider ultra-lightweight concrete (40-60 lbs) and earth-based materials such as tamped earth, brick, and tile. For secondary components, utilize wood planks, gypsum, plywood, cloth, chickenwire, paper, cardboard, particle board, corrugated iron, lime plasters, bamboo, rope, and tile.
+
+## 208 Gradual Stiffening **
+
+Problem: Pattern languages are fundamentally about creating buildings uniquely adapted to individual needs and sites. This philosophy requires building plans that remain loose and fluid to accommodate subtle adaptations.
+
+Solution: Understand that construction isn't like assembling an erector set from discrete components. Instead, think of it as weaving a structure that begins globally complete but flexible, then progressively increases in stiffness while maintaining some flexibility, before finally achieving complete rigidity and strength. In contemporary building, this approach naturally translates to erecting a shell of sheet materials, then strengthening it by adding compressive fill.
+
+## 209 Roof Layout *
+
+Problem: What roof design will organically integrate with your building's nature?
+
+Solution: Design your roof plan so each distinct roof section corresponds to an identifiable social unit within the building or complex. Position the largest and highest-spanning roofs over the most important communal spaces. Extend lesser roofs from these primary roof structures, and create the smallest roofs as half-vaults and sheds covering alcoves and thick walls.
+
+## 221 Natural Doors and Windows **
+
+Problem: Determining the ideal placement for windows and doors requires nuanced consideration, yet few construction methods acknowledge this subtlety.
+
+Solution: Never use standardized doors or windows. Create windows of varying sizes based on their specific location. Don't determine the exact size or position of door and window frames until the room's rough framing is complete. Stand physically within the space and use your visual judgment to decide optimal placement and dimensions. Mark your chosen openings with string. As you progress higher in the building, make the windows progressively smaller.
+
+## 225 Frames as Thickened Edges **
+
+Problem: A membrane with openings is vulnerable to tearing at those openings unless the edges are strengthened with additional material.
+
+Solution: Rather than treating door and window frames as independent rigid structures inserted into wall openings, conceive of them as integral thickenings of the wall itself, designed to distribute the stress that concentrates around openings.
+
+Following this concept, construct frames as extensions of the wall material, seamlessly integrated with the wall, using identical materials, and implemented in a way that maintains continuity with the wall's structure.
+
+## 226 Column Place *
+
+Problem: Columns that are too slender or designed solely based on structural considerations will never create a comfortable environment.
+
+Solution: For freestanding columns, ensure they are at least as thick as a human body – minimum 12 inches, preferably 16 inches. Create spaces around them where people can comfortably sit or lean, such as a step, a small seat built against the column, or an area formed between paired columns.
+
+## 239 Small Panes **
+
+Problem: With the invention of plate glass windows, it was assumed they would connect us more closely with nature. However, the effect has been quite the opposite.
+
+Solution: Break each window into multiple small panes. These should rarely exceed one foot square and can be much smaller. Determine appropriate pane dimensions by dividing the window's width and height by the desired number of panes. This approach creates uniquely proportioned panes for each window based on its specific dimensions.
+
+## 240 Half-Inch Trim **
+
+Problem: Buildings designed with machine-like precision don't require trim because of their exactness. However, this precision comes at a significant cost: it eliminates freedom and flexibility in building design.
+
+Solution: At every junction between different materials, install a piece of trim that covers the connection. Select trim pieces so that the narrowest section in each component is approximately 1/2 inch wide. Materials for trim can include wood, plaster, terracotta, and other similar options.
+
+## 241 Seat Spots **
+
+Problem: Outdoor seating placed without consideration for views and climate conditions typically goes unused.
+
+Solution: The location of outdoor seats matters far more than their design. When the spot is well- chosen, even the simplest bench works perfectly.
+
+For cooler climates, position seats to capture sunlight and shield from wind; in warmer areas, place them in shaded locations with access to summer breezes. In all situations, orient seats to provide views of ongoing activities.
+
+## 243 Sitting Wall **
+
+Problem: Walls and fences between outdoor areas are often too tall, yet having no boundary at all fails to acknowledge the nuanced distinctions between different spaces.
+
+Solution: Enclose natural outdoor spaces and create subtle boundaries between outdoor areas using low walls approximately 16 inches high. Make these walls wide enough to serve as seating—at least 12 inches across.
+
+## 247 Paving with Cracks Between the Stones **
+
+Problem: While asphalt and concrete outdoor surfaces are easily maintained, they provide no benefits for pathways, rainwater management, or plant life.
+
+Solution: For paths and terraces, arrange paving stones with approximately 1-inch gaps between them to allow grass, moss, and small flowering plants to grow in these spaces. Place the stones directly on soil rather than mortar, and avoid using cement or mortar between the stones.
+
+## 249 Ornament **
+
+Problem: Humans naturally desire to embellish their surroundings.
+
+Solution: Examine the building to identify edges and transitions that would benefit from emphasis or additional binding energy. Corners, material junctions, door frames, windows, entrances, wall intersections, garden gates, and fences all naturally invite ornamentation.
+
+Develop simple themes and apply elements of these themes repeatedly to the edges and boundaries you've selected for emphasis. Design ornaments to function as seams along these boundaries, connecting the two sides and unifying them.
+
+## 250 Warm Colors **
+
+Problem: The greenish and grayish tones common in hospitals and office hallways create a cold, depressing atmosphere. Natural wood, sunlight, and vibrant colors provide warmth. The color temperature in a room significantly affects comfort levels.
+
+Solution: Select surface colors that work with natural light, reflected light, and artificial lighting to generate a warm atmosphere throughout the rooms.

ref/Ecuadorian_Form_Language_Grammar.md

@@ -0,0 +1,301 @@
+# Ecuadorian Form Language — Quito Grammar
+
+*A reusable design-grammar module for LLM-driven architectural description and image generation.*
+
+## 0. Role of this document
+
+This document is one module of a larger prompt. Other modules supply the design brief (program, site, constraints) and the spatial chassis (the organizational type chosen for the project). This module supplies everything else:
+
+- the invariant climate script (fixed: Quito sierra);
+
+- the form vocabulary (lexicon of elements, drawn from all Ecuadorian regions and four historical strata);
+
+- the syntax (mandatory combination rules);
+
+- the color system (a menu of registers — exactly one is selected per generated project);
+
+- the ornament system (a menu of packages — selected per generated project);
+
+- the variation protocol (how to sample distinct color × ornament combinations across a batch of generated projects). Precedence when instructions conflict:
+
+1. Brief constraints and spatial chassis (from other modules) govern program and organization.
+
+2. The climate rules of §2 are invariant — they always win. If a formal idea drawn from another region conflicts with the Quito climate script, the element must be reinterpreted until it complies (e.g., a coastal stilt-house gallery becomes a corredor on a stone plinth).
+
+3. Syntax rules of §4 govern all composition.
+
+4. Color and ornament selections (§5, §6) are the free variables: each generated project makes one distinct choice. Terminology discipline: always use the glossary terms of §11 exactly as defined (e.g., zaguán, corredor, zócalo, alero). Every generated description must explicitly name its chosen Color Register (CR#) and Ornament Package(s) (OP#). This keeps a batch of generations comparable and traceable.
+
+## 1. Design thesis
+
+The form language is a stratified fusion of Ecuador’s complete architectural spectrum: Ground like the pre-Columbians, walls like the colonials, roofs like the indigenous, celebration like the baroque. Every building reads from bottom to top as geological and cultural time: a heavy, earth-bound base (pre-Columbian logic of platform, terrace and battered stone); an earthen-timber body (colonial logic of tapial, adobe and bahareque); a light, dominant, deeply overhanging roof (indigenous logic of the great protective canopy); and a strictly rationed layer of ornament and color (baroque and textile logic of density at thresholds and crowns). The language is a grammar of translation, never replica: no historical facade is copied whole; elements are decomposed, understood by their climate function, and recombined.
+
+## 2. Invariant climate script — Quito sierra (FIXED)
+
+### 2.1 Climate facts as design parameters
+
+| Parameter | Value | Design consequence |
+|---|---|---|
+| Latitude / altitude | ≈0.2° S / ≈2,850 m | Sun path nearly vertical, swinging north (Jun) and south (Dec); both N and S facades receive direct sun seasonally |
+| Temperature | ≈9–22 °C year-round; no seasons; diurnal swing 10–15 °C | Passive design only: thermal mass buffers nights, sun capture warms days; no heating/cooling machinery drives form |
+| Rainfall | ≈1,000–1,250 mm/yr, distributed year-round with two peaks (Mar–May, Oct–Nov); afternoon storms; occasional hail | Permanent rain readiness; sun and rain can occur the same afternoon — shading and shelter must be simultaneous, not seasonal |
+| Sun | Near-zenith twice yearly; extreme UV (index 11+) | Horizontal shading outperforms vertical fins; mineral paints and limewash as renewable skin |
+| Humidity / air | Moderate; cool nights; still mornings, breezy afternoons | Cross-ventilation desirable midday; closable, massive envelope desirable at night |
+
+### 2.2 Mandatory climate responses (Rules C1–C10 — always apply)
+
+- C1 — Dominant pitched roof. Every major volume carries a pitched roof (25–40°), gabled, hipped or conical. Flat roofs permitted only as minor links or terraces between pitched volumes.
+
+- C2 — Deep eaves (alero). Horizontal overhangs of 0.8–1.2 m on all exposed eaves, protecting earth render, shading walls from the near-vertical sun, and sheltering perimeter circulation.
+
+- C3 — Raised plinth. Every building meets the ground on a stone plinth (0.3–0.6 m) or platform against rain splashback and ground moisture. Buildings never touch grade directly.
+
+- C4 — Mass inside, light outside. Thermal mass (tapial/adobe/stone, 0.4–0.6 m) forms ground-floor and inner walls; upper floors and gables may lighten to bahareque/timber (0.15–0.2 m).
+
+- C5 — Courtyard sun capture. Patios sized to admit the high equatorial sun: courtyard width-to-surrounding-height ratio ≈ 1:1.
+
+- C6 — Covered circulation. At least one all-weather covered path (corredor, cloister walk, deep eave walk) connecting the building’s principal rooms.
+
+- C7 — Orientation discipline. Principal habitable rooms favor morning (east) sun; west facades are guarded (smaller openings, screens, corredor buffering) because hot afternoon sun coincides with rainstorms. North and south facades both receive seasonal sun and may be opened with eave protection.
+
+- C8 — Cross-ventilation stack. The sequence zaguán → patio → corredor must be able to ventilate through the building; ridge or gable vents exhaust warm air.
+
+- C9 — Water as ornament. Rain discharge is expressed: canales, gargoyles, or scuppers throw water clear of earthen walls into stone-lined channels or garden rills.
+
+- C10 — No seasonal operability. Do not invent “summer/winter” mechanisms. Quito has one eternal mild, wet, high-UV day; the building is always simultaneously a sunshade, an umbrella, and a night-time thermal battery.
+
+## 3. Form vocabulary (lexicon)
+
+Elements are grouped by tectonic family. Each carries its origin stratum — S1 Indigenous, S2 Pre-Columbian, S3 Early Colonial, S4 Baroque, R Regional/19th-century — and may be drawn from any Ecuadorian region, but must comply with §2 and §4.
+
+### 3.1 Ground and platform elements
+
+- E1 Terraced stone base (S2 — Ingapirca, andenes): sloped sites are carved into terraces of rough or fitted stone; buildings sit on platforms, never on flattened fill. Retaining faces may incline (batter) inward.
+
+- E2 Earthen platform/mound (S2 — Cochasquí): communal or ceremonial program may be raised on a broad earthen platform with a ceremonial ramp — mass as shaped ground.
+
+- E3 Stone plinth (S3): continuous rubble or ashlar base band, 0.3–0.6 m, under all earthen walls.
+
+### 3.2 Wall elements
+
+- E4 Battered ashlar wall (S2): fitted stone, faces inclining slightly inward; joints readable; used for bases, portals, retaining — carries seismic and visual weight.
+
+- E5 Tapial / adobe wall (S3): monolithic earthen wall, 0.4–0.6 m, limewashed; deep rounded reveals at openings.
+
+- E6 Bahareque / quincha (S3): timber or cane frame with woven infill and mud-lime render; light, flexible, used for upper floors, gables and interior partitions; may be expressed (visible weave pattern) or rendered smooth.
+
+- E7 Trapezoidal opening (S2): doorways and niches narrowing toward the top, monolithic lintel; use sparingly for principal thresholds or niches — a potent pre-Columbian marker.
+
+### 3.3 Roof and sky elements
+
+- E8 Great conical canopy (S1 — maloca): steep conical or pyramidal roof, structure expressed as radiating poles; contemporary translation in timber, bamboo or steel with shingle/thatch/standing-seam skin; reserved for communal/ceremonial volumes (hall, chapel, market, gathering space).
+
+- E9 Gabled/hipped tile roof (S3): the default roof; clay barrel tile, pitch 25–40°, ridge vents possible.
+
+- E10 Deep eaves walk (S1/S3): the alero deep enough (0.8–1.2 m+) to become a shaded, rain-proof perimeter room.
+
+- E11 Tiled dome / lantern (S4): small glazed-tile dome or lantern over the symbolic core (stair hall, chapel, reading room); silhouette event, rationed (see G6).
+
+- E12 Espadaña / finial (S3/S4): bell-gable or sculpted finial as skyline punctuation on otherwise simple masses.
+
+### 3.3 Threshold and in-between elements
+
+- E13 Zaguán (S3): covered passage from street to patio; deep, shaded, often with a postigo (door-within-door); the building’s primary threshold and airlock.
+
+- E14 Patio (S3): open court, width ≈ surrounding height; planted, paved in stone or brick; the climatic and social heart.
+
+- E15 Corredor (S3/R): covered gallery — colonnade or arcade, 1.5–2.5 m wide — ringing patio or street facade; the all-weather social room; carved timber posts or stone piers.
+
+- E16 Balcón corrido (R — Cuenca): continuous timber balcony on street facades, with turned spindles and carved brackets; mediates interior and street.
+
+- E17 Atrio (S3/S4): raised forecourt before a principal entrance, bounded by a low wall with corner finials; the civic threshold.
+
+- E18 Mirador (R): roofed lookout bay or tower room framing a volcano/valley view; upper-level counterpoint to the patio.
+
+- E19 Arcaded portal (S3 — Balbanera): deep arched entry porch in stone; the archaic colonial threshold, powerful on civic fronts.
+
+- E20 Celosía / reja (S3/R): timber lattice or wrought-iron grille over windows; ventilated shade and privacy; surface for geometric ornament (OP1/OP3).
+
+### 3.4 Interior elements
+
+- E21 Artesonado ceiling (S3/S4 — mudéjar): coffered/interlaced timber ceiling over the principal hall; structure as ornament (OP3).
+
+- E22 Retablo wall (S4): one interior wall organized as a tiered, framed composition of niches, carving and color (OP4).
+
+- E23 Whitewashed nave with colored carpentry: calm limewashed interior volume with doors, balconies, choir rails and beams carrying the saturated color.
+
+## 4. Syntax — combination rules (Rules G1–G8, always apply)
+
+- G1 — Stratification. Compose bottom-up: pre-Columbian ground (E1–E4) → colonial body (E5–E6) → indigenous-derived crown (E8–E10). A building must be heaviest at the earth and lightest at the sky. Never invert.
+
+- G2 — Perimeter around void. Program wraps one or more patios; every inhabited room touches both an exterior edge and a court or corredor.
+
+- G3 — Threshold gradient. Public-to-private sequence is always graduated: street → atrio or zaguán → patio → corredor → room. No door opens directly from street into an intimate room.
+
+- G4 — The roof is the fifth facade. Quito is a city of slopes: roofs are constantly seen from above. Compose tile pitch, eave lines, ridges, domes and espadañas as a deliberate roofscape.
+
+- G5 — Additive bays. Buildings grow in structural bays of 3–4.5 m; expansion happens by adding bays and successive patios, giving natural phasing and modularity.
+
+- G6 — One dense face / one dense room. Ornament concentrates at a single exterior episode (portal, atrio front) and/or a single interior episode (retablo wall, artesonado hall). All other surfaces stay calm. Never distribute ornament evenly.
+
+- G7 — Slope empathy. On sloped sites, terrace (E1) and step the masses; each step may carry its own pitched roof, producing the characteristic cascading roofscape.
+
+- G8 — Proportional habits. Courtyards square-ish (1:1 to 1:2); openings tall and narrow within massive walls; portal rhythms of 3 or 5 bays; story heights 3.0–3.6 m; eave lines continuous across a composition.
+
+## 5. Color system — SELECT EXACTLY ONE REGISTER PER PROJECT
+
+### 5.1 Fixed placement rules (Rules P1–P6 — always apply, whichever register is chosen)
+
+- P1 — Quiet fields. Large wall fields stay limewash white, earth-tone or plaster-calm. Saturation is never spread over whole structural masses (exception: CR4, which replaces fields with polychromy by design).
+
+- P2 — Zócalo band. A deep mineral-hue base band (0.6–1.2 m) runs at the foot of exterior walls — historically a splash guard, compositionally the building’s grounding line.
+
+- P3 — Carpentry carries color. Doors, windows, balconies, corredor posts, shutters and grilles carry the register’s accent hue(s), in one consistent hue family per facade.
+
+- P4 — Roofs stay natural. Clay tile red-brown, thatch tone, or dark metal; only domes may be glazed colored tile.
+
+- P5 — Matte mineral character. All color reads as limewash, mineral pigment, or fired clay — matte, slightly veiled, never synthetic gloss.
+
+- P6 — Interior inversion allowed. A restrained exterior may conceal a saturated interior (the baroque inversion), but only when the chosen register says so.
+
+### 5.2 Color Registers (CR1–CR8)
+
+- CR1 — Quito White & Andesite. Historic-center canonical: lime-white fields; grey volcanic andesite at plinth, portal and carved elements; dark walnut carpentry; red-brown tile; small oxblood zócalo. Mood: grave, civic, monastic.
+
+- CR2 — Almagre Earth. Rural Andean: almagre red-oxide zócalo and lower walls; ochre and bone-white upper fields; near-black or deep-green carpentry. Mood: earthen, warm, archaic.
+
+- CR3 — Añil Contrast. White fields with deep indigo/añil blue carpentry, doors and balcony rails; thin red zócalo. Mood: crisp, graphic, highland-clear.
+
+- CR4 — Las Peñas Polychromy. Coastal transplant (requires simple massing and strict P3 discipline): each facade plane or bay in a different saturated pastel — turquoise, coral, saffron, leaf green, rose — with white trim unifying. Mood: festive, popular, street-life.
+
+- CR5 — Cuenca Timber. Least-painted register: natural wood (honey to dark walnut) dominates corredores, balconies, eaves; white plaster fields; tile roof; black iron rejas. Mood: crafted, quiet, material-honest.
+
+- CR6 — Tocapu Earth Code. Pre-Columbian textile palette: madder red, charcoal black, bone white, gold ochre, applied in geometric bands, panels and floor patterns (pair with OP1/OP2). Mood: coded, ancestral, graphic.
+
+- CR7 — Golden Baroque Inversion. Exterior near-monochrome (white/grey/stone, P1–P4 strictly); interior explodes: gold-toned light, polychrome retablo wall, painted ceilings (pair with OP4). Mood: severe outside, ecstatic inside.
+
+- CR8 — Mestizo Pastels. Otavalo-market limewash palette: soft rose, aqua green, pale yellow fields in alternating bays; white trim; deep blue or green carpentry. Mood: gentle, domestic, luminous.
+
+## 6. Ornament system — SELECT PER PROJECT
+
+Select one geometric system (OP1–OP3 or OP7) and optionally one episodic system (OP4–OP6). Never two geometric systems; never more than one figurative episode per building (G6).
+
+### 6.1 Fixed placement rules (Rules O1–O4 — always apply)
+
+- O1 — Zoned placement. Ornament lives in three zones only: the base (masonry bonds, zócalo patterns), the threshold (portal frames, zaguán doors, window surrounds, celosías), and the crown (cornices, espadañas, domes, eave details). Fields between stay calm.
+
+- O2 — Density gradient. Ornament density increases toward the principal portal or principal room, and falls off with distance.
+
+- O3 — Structural honesty. Geometric ornament must be made by construction (brick bonds, tile coursing, timber joints, shadow gaps, perforations), not applied as surface decal, except where a package explicitly says otherwise.
+
+- O4 — Translation, not replica. Motifs are abstracted and re-proportioned for contemporary construction; no wholesale copying of a historical facade.
+
+### 6.2 Ornament Packages (OP1–OP7)
+
+- OP1 — Tocapu Grid (geometric, S2). The Inca textile cell system: a gridded field of distinct square glyphs (steps, keys, diagonals, diamonds, checks). Translate to: perforated brick screens, parapet patterns, floor tilings, shadow-jointed wall panels. Palette follows CR6 or the chosen register’s accents.
+
+- OP2 — Chakana & Diamond Course (geometric, S2). The stepped Andean cross and Cañari diamond: stepped profiles in cornices and parapets; diamond-coursed masonry bonds; chamfered building corners; mullion patterns. Works at the scale of the whole plan (stepped massing) down to a door pull.
+
+- OP3 — Mudéjar Lacería (geometric, S3). Islamic-Spanish interlace: star-pattern timber lattice celosías; alfiz frames (rectangular bands) around arched openings; and one artesonado coffered ceiling over the principal hall — interlaced timber geometry as structure-ornament.
+
+- OP4 — Quiteño Retablo Episode (episodic, S4). One dense carved composition only, at the main portal (carved volcanic stone or timber) or one interior wall: sun and moon discs, Andean flora and fauna (pineapple, parrot, puma, corn, monkey), tiered niche composition, estípite (inverted-pyramid pilaster) silhouettes permitted. Everything else calm (G6, O2).
+
+- OP5 — Domestic Carved Timber (episodic-craft, R — Cuenca). Ornament as woodworking craft: carved corredor columns and brackets, turned balcony spindles, deep-carved zaguán doors, patterned eave boards. Distributed along corredores and balconies — the exception that lives in circulation zones rather than one episode.
+
+- OP6 — Skyline Ornament (episodic, S3/S4). The silhouette as ornament: espadañas, finials, small glazed-tile domes, lanterns; composed against the equatorial sky per G4. Pairs with any geometric system; keeps wall surfaces free.
+
+- OP7 — Neighbor Techniques (geometric-surface, borrowed). Techniques imported from Latin America’s broader orbit, used only as bands and friezes: azulejo/talavera-style glazed tile wainscots; sgraffito plaster bands (two-tone scratched plaster, Tunja manner); fileteado-style flowing painted linework reserved for soffits, signs and small panels.
+
+## 7. Composition procedure (for the describing LLM)
+
+When given a brief and spatial chassis from the other prompt modules, compose in this order:
+
+1. Restate the chassis in grammar terms (which patios, terraces, or halls organize it).
+
+2. Apply the climate script C1–C10 as non-negotiable section decisions: pitch, eaves, plinth, mass placement, orientation, ventilation path.
+
+3. Assign the strata (G1): choose ground elements (E1–E4), body elements (E5–E6), crown (E8–E12), thresholds (E13–E20), interiors (E21–E23).
+
+4. Check the syntax G1–G8 explicitly.
+
+5. Select one Color Register (CR#) and apply placement rules P1–P6.
+
+6. Select one geometric ornament system (+ optionally one episodic package) and place per O1–O4 and G6.
+
+7. Verify against the negative constraints of §10.
+
+8. Write the description following the template of §8, naming CR/OP selections.
+
+## 8. Output description template
+
+Each generated building description must contain, in this order:
+
+1. Name and one-sentence concept (evocative, references the strata fusion).
+
+2. Site and massing — platforms/terraces, volumes, roofscape (G4, G7).
+
+3. Section and climate devices — explicitly trace C1–C10 compliance (eaves, plinth, patio ratio, ventilation path, orientation).
+
+4. Structure and materials — strata assignment: ground / body / crown elements by E-number.
+
+5. Color application — name the CR#, then describe field / zócalo / carpentry / roof / interior per P1–P6.
+
+6. Ornament placement — name the OP#(s); describe base, threshold, crown episodes per O1–O4; confirm G6 rationing.
+
+7. Camera-ready visual summary — 3–5 sentences of pure visual description for the image-generation step, plus 2–3 suggested viewpoints (e.g., “aerial oblique showing roofscape,” “from the patio toward the corredor,” “street elevation at the zaguán”).
+
+## 9. Variation protocol (for generating a batch of projects)
+
+To produce a diverse batch that covers the traditional Ecuadorian spectrum:
+
+- Hold invariant: climate script (§2), syntax (§4), placement rules (§5.1, §6.1). These make the batch legible as one language.
+
+- Vary systematically: the spatial chassis (from other modules) × one CR# × one geometric OP# (+ optional episodic OP#).
+
+- Recommended pairings (affinities, not obligations): CR6→OP1/OP2; CR7→OP4; CR3/CR5→OP5; CR1→OP3/OP6; CR2→OP2; CR4→OP5 (simple massing); CR8→OP5/OP6.
+
+- Coverage target: a batch of 8–12 variants should cycle through most CR#s and both pre-Columbian and colonial/baroque ornament families, so the human selector sees the full spectrum — archaic-earthen, graphic-indigenous, monastic-white, festive-polychrome, and baroque-ecstatic.
+
+## 10. Negative constraints (forbidden moves)
+
+- N1 No seasonal mechanisms (“opens for summer” / “closed for winter”) — Quito has no seasons.
+
+- N2 No vertical louvers/fins as primary solar control (sun is near-vertical); use horizontal eaves and corredores.
+
+- N3 No fully glazed facades without eave or colonnade protection; no glass-box massing.
+
+- N4 No flat primary roofs (minor terrace links excepted).
+
+- N5 No building meeting grade without plinth, platform or terrace.
+
+- N6 No more than one figurative ornament episode per building; no evenly distributed ornament.
+
+- N7 No free-floating ornament outside base/threshold/crown zones.
+
+- N8 No mixing two Color Registers in one project; no hues outside the chosen register; no synthetic gloss.
+
+- N9 No colored roofs (glazed domes excepted).
+
+- N10 No towers, domes or espadañas over minor private rooms — skyline events mark communal/civic cores only.
+
+- N11 No literal historical collage (a copied colonial facade); translate and abstract per O4.
+
+- N12 Regional elements (coastal stilts, Amazonian open walls, etc.) may enter only as formal references reinterpreted to comply with C1–C10.
+
+## 11. Glossary (use these terms exactly)
+
+- alero — deep roof overhang/eave. andén — agricultural terrace, basis of the terraced base. artesonado — mudéjar interlaced timber ceiling. atrio — walled forecourt before a church or civic building. bahareque / quincha — timber-cane frame with mud-lime render infill. balcón corrido — continuous timber balcony. canales — roof water spouts/gargoyles. celosía — perforated lattice screen. chakana — stepped Andean cross. corredor — covered gallery ringing a patio or facade. espadaña — bell-gable wall rising above a roofline. estípite — inverted-obelisk pilaster of late baroque. maloca — Amazonian communal house under a great conical roof. mirador — roofed lookout framing a view. patio — interior open court. postigo — pedestrian door cut within a large gate. reja — wrought-iron window grille. retablo — tiered, framed altar-piece composition. tapial — monolithic rammed earth. tocapu — Inca geometric textile glyph. zaguán — covered entry passage street-to-patio. zócalo — painted or stone base band at a wall’s foot.
+
+## Appendix A — Canonical precedents by stratum (reference anchors)
+
+- S1 Indigenous: Shuar/Achuar maloca (conical thatch, radiating poles); Andean rural choza (ichu-grass gable, stone footings).
+
+- S2 Pre-Columbian: Ingapirca (Cañari-Inca; elliptical Temple of the Sun, battered ashlar, trapezoidal niches, terracing); Cochasquí (Caranqui; fifteen earthen pyramids with ramps); tocapu textiles (All-T’oqapu Tunic); chakana.
+
+- S3 Early Colonial: La Balbanera, Colta (1534; stone, arched portal, espadaña, atrio); San Francisco, Quito (atrio, mudéjar artesonados, twin towers); Calle La Ronda popular housing; rural bahareque farmhouses.
+
+- S4 Baroque: La Compañía de Jesús, Quito (1605–1765; carved andesite facade with Andean flora-fauna and sun disc; gold interior); Santo Domingo and La Merced, Quito (domes, mudéjar ceilings); Quito School carving and polychromy.
+
+- R Regional/19th-c.: Cuenca historic center (corredores, carved balconies, cascading tile roofs over the Tomebamba); Las Peñas / Cerro Santa Ana, Guayaquil (polychrome timber houses, elevated galleries); Otavalo, Zuleta and Salasaca textile patterns.
+
+- Neighbor techniques (OP7): Cusco-school gilding and Altiplano arquebusier angels; Tunja sgraffito interiors; Brazilian/Portuguese azulejos; Mexican talavera and churrigueresque density; Argentine fileteado linework.

ref/MUNA Guide-for-the-submission-of-the-enabling-documentation.txt

@@ -0,0 +1,75 @@
+GUIDE FOR THE SUBMISSION OF THE ENABLING DOCUMENTATION FOR
+STAGE 1
+To ensure the correct submission of the Stage 1 enabling documentation, you must follow this
+procedure for consolidating and remitting information via email:
+1.
+
+Consolidation of Documentation
+•
+•
+
+2.
+
+Single File: All supporting documentation (annexes, portfolio, CVs and certificates)
+must be contained in a single compressed file in .ZIP format.
+Formats: The documents inside the compressed file must be presented in digital PDF
+format. The graphic sheet for each work or project presented must be in DIN A3
+format.
+Cloud Upload & Access
+
+•
+•
+•
+3.
+
+External Platform: The .ZIP file must be uploaded to a cloud storage platform (such as
+Google Drive, OneDrive, Dropbox, or similar).
+Access Permissions: The download link must be configured with public read
+permissions to ensure immediate access by the Evaluation Committee.
+Email Attachments Restriction: Do not attach files directly to the email.
+MD5 Hash Code Generation and Incorporation
+
+To guarantee data integrity and ensure the file has not been altered after sending, the use of
+a verification code is required:
+•
+
+•
+
+•
+
+Nature of Hash: The MD5 Hash is a unique alphanumeric code generated from your
+final .ZIP file. It is not an additional file, but a string of text to validate the integrity of
+the information.
+Tools to Generate it: You can generate it using system commands (e.g. certutil -hashfile
+on Windows or md5 on macOS) or MD5 HASH generation applications (e.g. QuickHash
+GUI, HashMyFiles, WinMD5Free, etc.)
+Once the HASH has been generated, this code must be included in the body of the
+application email.
+
+4.
+
+Mail Delivery Protocol (Conforming to Annex 3)
+
+To: convocatoria@museonacional.gob.ec
+Subject: "Credential and Portfolio Delivery - Stage 1 - [Team Name]".
+Body Contents:
+I hereby submit the enabling documentation, credentials, and portfolio corresponding to Stage
+1 of the Open Call for Architectural schematic design proposals for the New Building of the
+National Museum of Ecuador.
+I act as Project Director and representative of the applicant team [Team Name, if applicable],
+in compliance with the requirements established in the technical bases, including all
+documenta- tion duly signed and submitted in digital format.
+The enabling documentation, annexes, and portfolio can be accessed at the following link:
+[Link to download documents in ZIP format]
+[Hash Code]
+
+I would like to confirm receipt of these documents.
+I remain attentive to any additional communication related to the process.
+
+Cordially,
+[Name of Project Director] [Professional Title]
+[Phone]
+[Email]
+[Name of Team/Studio/Firm]
+
+

ref/Muna ANNEX-1_RulesMuseum_ENG.md

@@ -0,0 +1,32 @@
+> I, Arch. , with identification/passport , representative of the
+> participating team for the selection of credentials and portfolios for
+> partici- pation in the Open Call for Architectural schematic design
+> proposals for the New Building of the National Museum of Ecuador,
+> hereby undertake, state my interest in participating in this process
+> and commit, if selected, to submit the required proposal within the
+> deadlines established and in accordance with the conditions set forth
+> in the Participation Rules and all other project documen- tation.
+>
+> Furthermore, I acknowledge that, if selected to participate in Stage 2
+> of the Open Call for the Design of the Architectural Preliminary
+> Project for the New Building of the National Museum of Ecuador,
+>
+> I may have access to confidential or privileged information related to
+> the project. I hereby agree to maintain the strictest confidentiality
+> regarding such information and to refrain from disclosing it to third
+> parties. I understand that any unauthorized disclosure may result in
+> the termination of my participation in the process and the application
+> of legal measures in accordance with applica- ble laws and
+> regulations.
+>
+> Place and Date:
+>
+> Signature
+>
+> \[Name of Project Director\]
+>
+> \[Professional Title\] \[Phone\]
+>
+> \[Email\]
+>
+> \[Name of Team / Studio / Firm

ref/Muna ANNEX-2_RulesMuseum_ENG.md

@@ -0,0 +1,582 @@
++---+----------------+------------------+-------------+---------------+
+| > |                |                  |             |               |
+|   |                |                  |             |               |
+| * |                |                  |             |               |
+| * |                |                  |             |               |
+| T |                |                  |             |               |
+| A |                |                  |             |               |
+| B |                |                  |             |               |
+| L |                |                  |             |               |
+| E |                |                  |             |               |
+|   |                |                  |             |               |
+| 1 |                |                  |             |               |
+| . |                |                  |             |               |
+| > |                |                  |             |               |
+|   |                |                  |             |               |
+| T |                |                  |             |               |
+| E |                |                  |             |               |
+| A |                |                  |             |               |
+| M |                |                  |             |               |
+| > |                |                  |             |               |
+|   |                |                  |             |               |
+| M |                |                  |             |               |
+| E |                |                  |             |               |
+| M |                |                  |             |               |
+| B |                |                  |             |               |
+| E |                |                  |             |               |
+| R |                |                  |             |               |
+| S |                |                  |             |               |
+| * |                |                  |             |               |
+| * |                |                  |             |               |
++:=:+================+:================:+=============+===============+
+| > | > **Full       | > **Role**       | > **Team    | > *           |
+|   | > name**       |                  | > Repre     | *Architecture |
+| * |                |                  | sentative** | > Firm /      |
+| * |                |                  |             | >             |
+| N |                |                  |             | Independent** |
+| ° |                |                  |             |               |
+| * |                |                  |             |               |
+| * |                |                  |             |               |
++---+----------------+------------------+-------------+---------------+
+| > |                | > Project        | > X         |               |
+|   |                | > Director       |             |               |
+| 1 |                |                  |             |               |
+| \ |                |                  |             |               |
+| * |                |                  |             |               |
++---+----------------+------------------+-------------+---------------+
+| > |                | > Senior         |             |               |
+|   |                | > Architect 1    |             |               |
+| 2 |                |                  |             |               |
+| \ |                |                  |             |               |
+| * |                |                  |             |               |
++---+----------------+------------------+-------------+---------------+
+| > |                | > Senior         |             |               |
+|   |                | > Architect 2    |             |               |
+| 3 |                |                  |             |               |
+| \ |                |                  |             |               |
+| * |                |                  |             |               |
++---+----------------+------------------+-------------+---------------+
+| > |                | > Urban          |             |               |
+|   |                | > Landscape      |             |               |
+| 4 |                | > Specialist     |             |               |
+| \ |                |                  |             |               |
+| * |                |                  |             |               |
++---+----------------+------------------+-------------+---------------+
+| > |                | > Museum         |             |               |
+|   |                | > specialist     |             |               |
+| 5 |                |                  |             |               |
+| \ |                |                  |             |               |
+| * |                |                  |             |               |
++---+----------------+------------------+-------------+---------------+
+| > |                | > Structural and |             |               |
+|   |                | > civil works    |             |               |
+| 6 |                | > engineer       |             |               |
+| \ |                |                  |             |               |
+| * |                |                  |             |               |
++---+----------------+------------------+-------------+---------------+
+| > |                | > Specialist in  |             |               |
+|   |                | > eco-effi-      |             |               |
+| 7 |                | > ciency and     |             |               |
+| \ |                | > sustainability |             |               |
+| * |                |                  |             |               |
++---+----------------+------------------+-------------+---------------+
+
+<table>
+<colgroup>
+<col style="width: 4%" />
+<col style="width: 8%" />
+<col style="width: 8%" />
+<col style="width: 9%" />
+<col style="width: 8%" />
+<col style="width: 10%" />
+<col style="width: 6%" />
+<col style="width: 11%" />
+<col style="width: 9%" />
+<col style="width: 12%" />
+<col style="width: 8%" />
+</colgroup>
+<thead>
+<tr>
+<th colspan="11" style="text-align: center;"><blockquote>
+<p><strong>TABLE 2. TEAM EXPERIENCE</strong></p>
+</blockquote></th>
+</tr>
+</thead>
+<tbody>
+<tr>
+<td colspan="11"><blockquote>
+<p><strong>2.1. GENERAL EXPERIENCE (PUBLIC-USE BUILDINGS)</strong></p>
+</blockquote></td>
+</tr>
+<tr>
+<td style="text-align: center;"><blockquote>
+<p><strong>N°</strong></p>
+</blockquote></td>
+<td><blockquote>
+<p><strong>Project Name</strong></p>
+</blockquote></td>
+<td><blockquote>
+<p><strong>Loca- tion</strong></p>
+</blockquote></td>
+<td><blockquote>
+<p><strong>Typology</strong></p>
+</blockquote></td>
+<td style="text-align: center;"><blockquote>
+<p><strong>Gross Floor area (m2)</strong></p>
+</blockquote></td>
+<td style="text-align: center;"><blockquote>
+<p><strong>Usable Floor area (m2)</strong></p>
+</blockquote></td>
+<td><blockquote>
+<p><strong>Year</strong></p>
+</blockquote></td>
+<td><blockquote>
+<p><strong>Promoter</strong></p>
+</blockquote></td>
+<td><blockquote>
+<p><strong>Authors</strong></p>
+</blockquote></td>
+<td style="text-align: center;"><blockquote>
+<p><strong>Verification document (link, certifi- cate,
+etc.)</strong></p>
+</blockquote></td>
+<td><blockquote>
+<p><strong>DIN A3,</strong></p>
+<p><strong>Rende- rings, plani- metry</strong></p>
+</blockquote></td>
+</tr>
+<tr>
+<td style="text-align: center;"><blockquote>
+<p>1*</p>
+</blockquote></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+</tr>
+<tr>
+<td style="text-align: center;"><blockquote>
+<p>2*</p>
+</blockquote></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+</tr>
+<tr>
+<td style="text-align: center;"><blockquote>
+<p>3*</p>
+</blockquote></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+</tr>
+<tr>
+<td style="text-align: center;"><blockquote>
+<p>4</p>
+</blockquote></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+</tr>
+<tr>
+<td style="text-align: center;"><blockquote>
+<p>5</p>
+</blockquote></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+</tr>
+<tr>
+<td style="text-align: center;"><blockquote>
+<p>6</p>
+</blockquote></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+</tr>
+<tr>
+<td style="text-align: center;"><blockquote>
+<p>7</p>
+</blockquote></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+</tr>
+</tbody>
+</table>
+
+<table style="width:100%;">
+<colgroup>
+<col style="width: 4%" />
+<col style="width: 8%" />
+<col style="width: 8%" />
+<col style="width: 10%" />
+<col style="width: 8%" />
+<col style="width: 10%" />
+<col style="width: 6%" />
+<col style="width: 11%" />
+<col style="width: 10%" />
+<col style="width: 20%" />
+</colgroup>
+<thead>
+<tr>
+<th colspan="10" style="text-align: center;"><blockquote>
+<p><strong>TABLE 2. TEAM EXPERIENCE</strong></p>
+</blockquote></th>
+</tr>
+</thead>
+<tbody>
+<tr>
+<td colspan="10"><blockquote>
+<p><strong>2.2. SPECIFIC EXPERIENCE (CULTURAL BUILDINGS)</strong></p>
+</blockquote></td>
+</tr>
+<tr>
+<td style="text-align: center;"><blockquote>
+<p><strong>N°</strong></p>
+</blockquote></td>
+<td><blockquote>
+<p><strong>Project Name</strong></p>
+</blockquote></td>
+<td><blockquote>
+<p><strong>Loca- tion</strong></p>
+</blockquote></td>
+<td><blockquote>
+<p><strong>Typology</strong></p>
+</blockquote></td>
+<td style="text-align: center;"><blockquote>
+<p><strong>Gross Floor area (m2)</strong></p>
+</blockquote></td>
+<td style="text-align: center;"><blockquote>
+<p><strong>Usable Floor area (m2)</strong></p>
+</blockquote></td>
+<td><blockquote>
+<p><strong>Year</strong></p>
+</blockquote></td>
+<td><blockquote>
+<p><strong>Promoter</strong></p>
+</blockquote></td>
+<td><blockquote>
+<p><strong>Authors</strong></p>
+</blockquote></td>
+<td><blockquote>
+<p><strong>Verification document (link, certificate, etc.)</strong></p>
+</blockquote></td>
+</tr>
+<tr>
+<td style="text-align: center;"><blockquote>
+<p>1*</p>
+</blockquote></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+</tr>
+<tr>
+<td style="text-align: center;"><blockquote>
+<p>2</p>
+</blockquote></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+</tr>
+<tr>
+<td style="text-align: center;"><blockquote>
+<p>3</p>
+</blockquote></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+</tr>
+<tr>
+<td style="text-align: center;"><blockquote>
+<p>4</p>
+</blockquote></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+</tr>
+<tr>
+<td style="text-align: center;"><blockquote>
+<p>5</p>
+</blockquote></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+</tr>
+<tr>
+<td style="text-align: center;"><blockquote>
+<p>6</p>
+</blockquote></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+</tr>
+<tr>
+<td style="text-align: center;"><blockquote>
+<p>7</p>
+</blockquote></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+<td></td>
+</tr>
+</tbody>
+</table>
+
++---+------+---------+---------+------+------+--------+--------------+
+| > |      |         |         |      |      |        |              |
+|   |      |         |         |      |      |        |              |
+| * |      |         |         |      |      |        |              |
+| * |      |         |         |      |      |        |              |
+| T |      |         |         |      |      |        |              |
+| A |      |         |         |      |      |        |              |
+| B |      |         |         |      |      |        |              |
+| L |      |         |         |      |      |        |              |
+| E |      |         |         |      |      |        |              |
+| > |      |         |         |      |      |        |              |
+|   |      |         |         |      |      |        |              |
+| 3 |      |         |         |      |      |        |              |
+| . |      |         |         |      |      |        |              |
+| > |      |         |         |      |      |        |              |
+|   |      |         |         |      |      |        |              |
+| T |      |         |         |      |      |        |              |
+| E |      |         |         |      |      |        |              |
+| A |      |         |         |      |      |        |              |
+| M |      |         |         |      |      |        |              |
+| > |      |         |         |      |      |        |              |
+|   |      |         |         |      |      |        |              |
+| A |      |         |         |      |      |        |              |
+| W |      |         |         |      |      |        |              |
+| A |      |         |         |      |      |        |              |
+| R |      |         |         |      |      |        |              |
+| D |      |         |         |      |      |        |              |
+| S |      |         |         |      |      |        |              |
+| > |      |         |         |      |      |        |              |
+|   |      |         |         |      |      |        |              |
+| A |      |         |         |      |      |        |              |
+| N |      |         |         |      |      |        |              |
+| D |      |         |         |      |      |        |              |
+| > |      |         |         |      |      |        |              |
+|   |      |         |         |      |      |        |              |
+| R |      |         |         |      |      |        |              |
+| E |      |         |         |      |      |        |              |
+| C |      |         |         |      |      |        |              |
+| O |      |         |         |      |      |        |              |
+| G |      |         |         |      |      |        |              |
+| N |      |         |         |      |      |        |              |
+| I |      |         |         |      |      |        |              |
+| T |      |         |         |      |      |        |              |
+| I |      |         |         |      |      |        |              |
+| O |      |         |         |      |      |        |              |
+| N |      |         |         |      |      |        |              |
+| S |      |         |         |      |      |        |              |
+| * |      |         |         |      |      |        |              |
+| * |      |         |         |      |      |        |              |
++:=:+:====:+:=======:+:=======:+:====:+:====:+:======:+:============:+
+| > |      |         |         |      |      |        |              |
+|   |      |         |         |      |      |        |              |
+| * |      |         |         |      |      |        |              |
+| * |      |         |         |      |      |        |              |
+| F |      |         |         |      |      |        |              |
+| i |      |         |         |      |      |        |              |
+| r |      |         |         |      |      |        |              |
+| s |      |         |         |      |      |        |              |
+| t |      |         |         |      |      |        |              |
+| > |      |         |         |      |      |        |              |
+|   |      |         |         |      |      |        |              |
+| P |      |         |         |      |      |        |              |
+| r |      |         |         |      |      |        |              |
+| i |      |         |         |      |      |        |              |
+| z |      |         |         |      |      |        |              |
+| e |      |         |         |      |      |        |              |
+| * |      |         |         |      |      |        |              |
+| * |      |         |         |      |      |        |              |
++---+------+---------+---------+------+------+--------+--------------+
+| > | >    | > *     | > **    | >    | >    | > *    | > **         |
+|   | **Na | *Instit | Project | **Ye |  **C | *Conta | Verification |
+| * | me** | ution** | >       | ar** | ount | iner** | > document   |
+| * |      |         |  Name** |      | ry** |        | > (link,     |
+| N |      |         |         |      |      |        | >            |
+| ° |      |         |         |      |      |        | certificate, |
+| * |      |         |         |      |      |        | > etc.)**    |
+| * |      |         |         |      |      |        |              |
++---+------+---------+---------+------+------+--------+--------------+
+| > |      |         |         |      |      |        |              |
+|   |      |         |         |      |      |        |              |
+| 1 |      |         |         |      |      |        |              |
++---+------+---------+---------+------+------+--------+--------------+
+| > |      |         |         |      |      |        |              |
+|   |      |         |         |      |      |        |              |
+| 2 |      |         |         |      |      |        |              |
++---+------+---------+---------+------+------+--------+--------------+
+| > |      |         |         |      |      |        |              |
+|   |      |         |         |      |      |        |              |
+| 3 |      |         |         |      |      |        |              |
++---+------+---------+---------+------+------+--------+--------------+
+| > |      |         |         |      |      |        |              |
+|   |      |         |         |      |      |        |              |
+| 4 |      |         |         |      |      |        |              |
++---+------+---------+---------+------+------+--------+--------------+
+| > |      |         |         |      |      |        |              |
+|   |      |         |         |      |      |        |              |
+| 5 |      |         |         |      |      |        |              |
++---+------+---------+---------+------+------+--------+--------------+
+| > |      |         |         |      |      |        |              |
+|   |      |         |         |      |      |        |              |
+| 6 |      |         |         |      |      |        |              |
++---+------+---------+---------+------+------+--------+--------------+
+| > |      |         |         |      |      |        |              |
+|   |      |         |         |      |      |        |              |
+| 7 |      |         |         |      |      |        |              |
++---+------+---------+---------+------+------+--------+--------------+
+| > |      |         |         |      |      |        |              |
+|   |      |         |         |      |      |        |              |
+| * |      |         |         |      |      |        |              |
+| * |      |         |         |      |      |        |              |
+| S |      |         |         |      |      |        |              |
+| e |      |         |         |      |      |        |              |
+| c |      |         |         |      |      |        |              |
+| o |      |         |         |      |      |        |              |
+| n |      |         |         |      |      |        |              |
+| d |      |         |         |      |      |        |              |
+| , |      |         |         |      |      |        |              |
+| > |      |         |         |      |      |        |              |
+|   |      |         |         |      |      |        |              |
+| t |      |         |         |      |      |        |              |
+| h |      |         |         |      |      |        |              |
+| i |      |         |         |      |      |        |              |
+| r |      |         |         |      |      |        |              |
+| d |      |         |         |      |      |        |              |
+| > |      |         |         |      |      |        |              |
+|   |      |         |         |      |      |        |              |
+| p |      |         |         |      |      |        |              |
+| r |      |         |         |      |      |        |              |
+| i |      |         |         |      |      |        |              |
+| z |      |         |         |      |      |        |              |
+| e |      |         |         |      |      |        |              |
+| > |      |         |         |      |      |        |              |
+|   |      |         |         |      |      |        |              |
+| a |      |         |         |      |      |        |              |
+| n |      |         |         |      |      |        |              |
+| d |      |         |         |      |      |        |              |
+| > |      |         |         |      |      |        |              |
+|   |      |         |         |      |      |        |              |
+| m |      |         |         |      |      |        |              |
+| e |      |         |         |      |      |        |              |
+| n |      |         |         |      |      |        |              |
+| t |      |         |         |      |      |        |              |
+| i |      |         |         |      |      |        |              |
+| o |      |         |         |      |      |        |              |
+| n |      |         |         |      |      |        |              |
+| s |      |         |         |      |      |        |              |
+| * |      |         |         |      |      |        |              |
+| * |      |         |         |      |      |        |              |
++---+------+---------+---------+------+------+--------+--------------+
+| > | >    | > *     | > **    | >    | >    | > *    | > **         |
+|   | **Na | *Instit | Project | **Ye |  **C | *Conta | Verification |
+| * | me** | ution** | >       | ar** | ount | iner** | > document   |
+| * |      |         |  Name** |      | ry** |        | > (link,     |
+| N |      |         |         |      |      |        | >            |
+| ° |      |         |         |      |      |        | certificate, |
+| * |      |         |         |      |      |        | > etc.)**    |
+| * |      |         |         |      |      |        |              |
++---+------+---------+---------+------+------+--------+--------------+
+|   |      |         |         |      |      |        |              |
++---+------+---------+---------+------+------+--------+--------------+
+|   |      |         |         |      |      |        |              |
++---+------+---------+---------+------+------+--------+--------------+
+|   |      |         |         |      |      |        |              |
++---+------+---------+---------+------+------+--------+--------------+
+|   |      |         |         |      |      |        |              |
++---+------+---------+---------+------+------+--------+--------------+
+
+\* Minimum information required

ref/Muna.md

@@ -0,0 +1,27 @@
+> **To:** <convocatoria@museonacional.gob.ec>
+>
+> **Subject:** Credential and Portfolio Delivery -- Stage 1 --
+
+Dear Members of the Organizing Committee,
+
+> I hereby submit the enabling documentation, credentials, and portfolio
+> corresponding to Stage 1 of the Open Call for Architectural schematic
+> design proposals for the New Building of the National Museum of
+> Ecuador.
+>
+> I act as Project Director and representative of the applicant team
+> \[Team Name, if applicable\], in compliance with the requirements
+> established in the technical bases, including all documenta- tion duly
+> signed and submitted in digital format.
+>
+> The enabling documentation, annexes, and portfolio can be accessed at
+> the following link: I would like to confirm receipt of these
+> documents.
+>
+> I remain attentive to any additional communication related to the
+> process.
+>
+> Cordially,
+>
+> \[Name of Project Director\] \[Professional Title\] \[Phone\]
+> \[Email\] \[Name of Team / Studio / Firm