bruno/MuNa

Bruno Postle 284800a750 Fix indoor/outdoor weather ambiguity in interior illustration prompts

Interior scenes (Great Hall, circulation gallery, Corredor of Time)
described rain/puddles without clearly anchoring them to an exterior
view, causing generated images to show puddles indoors. Each now
states the interior stays completely dry, with wetness confined to a
glimpsed exterior view, plus a reinforcing "absolutely avoid" clause.

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

2026-07-18 23:48:45 +01:00

47 KiB

Raw Blame History

Illustration Prompts for Casa de la Memoria Andina

Detailed AI image-generation prompts for the 13 illustrations placed throughout docs/counter-proposal.md. Every prompt below is fully self-contained: the shared style guide is pasted in full into each one, so any single prompt can be copied on its own straight into an image generator and will still produce an image consistent with all the others. The duplication is deliberate — it is what keeps 13 separately-generated images reading as one building.

Medium: warm architectural watercolor and gouache illustration — a painted presentation drawing, not a photorealistic render. Lighting and weather are fixed identically across the whole set (the moment just after an afternoon storm has passed), and the cast of people is described consistently so the same "population" appears to inhabit every scene.

If a tool enforces a strict character limit, trim from the end of the shared style-guide block first (the "Absolutely avoid" sentence can go first) rather than shortening the scene description at the top of each prompt.

1. Exterior corner view (from Av. Eloy Alfaro & Av. de la República)

Warm architectural watercolor and gouache illustration, painted on textured cold-press paper, loose confident brushwork with visible paper grain, soft bled edges, no hard photographic realism and no 3D-render or CGI look. The building is Casa de la Memoria Andina, a new national museum in Quito, Ecuador, at high Andean altitude almost exactly on the equator. A wide street-corner view of the whole museum complex seen from the pavement at the corner of two busy city avenues in Quito. The building appears as a gathered family of separate white-and-stone volumes — lower wings to left and right, a taller central hall behind them crowned with a broad pyramidal red-tile roof rising above the rest. The dark andesite plinth runs along the whole street frontage at pedestrian eye level, with the white limewashed walls and timber upper levels stepping back slightly above it. Ordinary city traffic and a few pedestrians pass in the foreground; the building fills the middle distance, with the green canopy of a large park glimpsed at the edge of frame beyond it. Fixed lighting and weather for every image in this set: the moment just after an afternoon rainstorm has passed — pavements and roof tiles still dark and glistening with rain, puddles reflecting the sky, a few scattered clouds breaking apart, and warm late-afternoon equatorial sunlight breaking through at a high, almost overhead angle, catching wet stone and throwing soft warm highlights while shadows stay cool and blue-grey, throwing long warm light across the wet street. Material and color palette, held constant throughout: a heavy plinth and ground floor of dark grey volcanic andesite stone; thick, monolithic walls above rendered in matte lime-white limewash; a lighter upper level and roof structure of dark honey-brown timber; deeply overhanging roofs of natural red-brown clay tile with sharp shadow lines beneath the eaves; window carpentry, doors and balcony rails in dark walnut-brown wood; window grilles and metalwork in near-black wrought iron; a narrow band of muted dark oxblood-red paint along the base of some walls, never the whole wall. Colour stays quiet and mostly monochrome (white, grey stone, brown timber, red-brown tile) with small, deliberate accents of color on doors, shutters, and ironwork only — never a brightly coloured building. Ornament is geometric and restrained: stepped Andean cross (chakana) motifs and diamond-coursed stonework patterns appear only at the base of walls, around door and window thresholds, and along roof cornices — plain white or timber wall surfaces everywhere else, no applied decoration spread across whole façades. Massing reads as a cluster of distinct linked stone-and-timber volumes of varying height grouped around planted courtyards, with one taller central hall carrying the highest, most prominent pitched and gabled roof of the whole group, and lower roofs cascading down from it over the surrounding wings. Courtyards throughout are planted with trees and low vegetation, paved in stone and clay with narrow gaps of moss and small plants between the joints, and lined with shaded arcaded walkways. People throughout the set: an ordinary cross-section of present-day Ecuadorian people of mixed ages — families, elderly visitors, museum staff, schoolchildren in everyday (not folkloric) clothing, and adult men and women in plain contemporary dress — painted loosely as small figures that give a sense of human scale rather than as detailed portraits, never in costume, regalia, or stereotype. Absolutely avoid: glass curtain walls, flat modernist roofs, exposed grey concrete, a single monolithic tower or box, chrome or glossy surfaces, any text, logos, signage, or watermark, and any hint of a generic "iconic" contemporary museum silhouette — this building is deliberately unspectacular, grounded, and human-scaled.

Suggested framing: wide street-level three-quarter view, landscape orientation.

2. Stepped street elevation and roofscape

Warm architectural watercolor and gouache illustration, painted on textured cold-press paper, loose confident brushwork with visible paper grain, soft bled edges, no hard photographic realism and no 3D-render or CGI look. The building is Casa de la Memoria Andina, a new national museum in Quito, Ecuador, at high Andean altitude almost exactly on the equator. A closer, more frontal view walking along one of the two avenues, showing how the building's street wall steps forward and back in shallow increments rather than running as one flat façade — each step creating a small sheltered recess, a covered entrance, or a shallow balcony overlooking the street. Above, the roofscape is the real subject: overlapping red-brown clay-tile roofs of different heights and pitches cascade down from the tall central hall's roof toward the lower wings, deep eaves throwing hard shadow bands across the white walls below. Rain still drips from the eaves; the sky is clearing. Fixed lighting and weather for every image in this set: the moment just after an afternoon rainstorm has passed — pavements and roof tiles still dark and glistening with rain, puddles reflecting the sky, a few scattered clouds breaking apart, and warm late-afternoon equatorial sunlight breaking through at a high, almost overhead angle, catching wet stone and throwing soft warm highlights while shadows stay cool and blue-grey. Material and color palette, held constant throughout: a heavy plinth and ground floor of dark grey volcanic andesite stone; thick, monolithic walls above rendered in matte lime-white limewash; a lighter upper level and roof structure of dark honey-brown timber; deeply overhanging roofs of natural red-brown clay tile with sharp shadow lines beneath the eaves; window carpentry, doors and balcony rails in dark walnut-brown wood; window grilles and metalwork in near-black wrought iron; a narrow band of muted dark oxblood-red paint along the base of some walls, never the whole wall. Colour stays quiet and mostly monochrome (white, grey stone, brown timber, red-brown tile) with small, deliberate accents of color on doors, shutters, and ironwork only — never a brightly coloured building. Ornament is geometric and restrained: stepped Andean cross (chakana) motifs and diamond-coursed stonework patterns appear only at the base of walls, around door and window thresholds, and along roof cornices — plain white or timber wall surfaces everywhere else, no applied decoration spread across whole façades. Massing reads as a cluster of distinct linked stone-and-timber volumes of varying height grouped around planted courtyards, with one taller central hall carrying the highest, most prominent pitched and gabled roof of the whole group, and lower roofs cascading down from it over the surrounding wings. Courtyards throughout are planted with trees and low vegetation, paved in stone and clay with narrow gaps of moss and small plants between the joints, and lined with shaded arcaded walkways. People throughout the set: an ordinary cross-section of present-day Ecuadorian people of mixed ages — families, elderly visitors, museum staff, schoolchildren in everyday (not folkloric) clothing, and adult men and women in plain contemporary dress — painted loosely as small figures that give a sense of human scale rather than as detailed portraits, never in costume, regalia, or stereotype. Absolutely avoid: glass curtain walls, flat modernist roofs, exposed grey concrete, a single monolithic tower or box, chrome or glossy surfaces, any text, logos, signage, or watermark, and any hint of a generic "iconic" contemporary museum silhouette — this building is deliberately unspectacular, grounded, and human-scaled.

Suggested framing: eye-level street perspective, slightly oblique, landscape orientation, emphasis on the roofline against the sky.

3. The Civic Atrio, with a school group arriving

Warm architectural watercolor and gouache illustration, painted on textured cold-press paper, loose confident brushwork with visible paper grain, soft bled edges, no hard photographic realism and no 3D-render or CGI look. The building is Casa de la Memoria Andina, a new national museum in Quito, Ecuador, at high Andean altitude almost exactly on the equator. The raised forecourt of the museum, reached by broad shallow stone steps and gently sloping ramps rising from street level, flanked by low stone sitting-walls, planted terraces, and a few mature trees. A school bus has stopped at the edge of the atrio; a teacher is doing a headcount of a loose group of schoolchildren in front of the entrance portal, which is visible in the middle distance as a deep, shadowed stone opening. Small activity pockets line the atrio's edges — a modest ticket-and-information kiosk, a bookstall with a striped awning, sheltered benches — with a few other visitors sitting or walking through. Wet stone paving reflects the clearing sky. Fixed lighting and weather for every image in this set: the moment just after an afternoon rainstorm has passed — pavements and roof tiles still dark and glistening with rain, puddles reflecting the sky, a few scattered clouds breaking apart, and warm late-afternoon equatorial sunlight breaking through at a high, almost overhead angle, catching wet stone and throwing soft warm highlights while shadows stay cool and blue-grey. Material and color palette, held constant throughout: a heavy plinth and ground floor of dark grey volcanic andesite stone; thick, monolithic walls above rendered in matte lime-white limewash; a lighter upper level and roof structure of dark honey-brown timber; deeply overhanging roofs of natural red-brown clay tile with sharp shadow lines beneath the eaves; window carpentry, doors and balcony rails in dark walnut-brown wood; window grilles and metalwork in near-black wrought iron; a narrow band of muted dark oxblood-red paint along the base of some walls, never the whole wall. Colour stays quiet and mostly monochrome (white, grey stone, brown timber, red-brown tile) with small, deliberate accents of color on doors, shutters, and ironwork only — never a brightly coloured building. Ornament is geometric and restrained: stepped Andean cross (chakana) motifs and diamond-coursed stonework patterns appear only at the base of walls, around door and window thresholds, and along roof cornices — plain white or timber wall surfaces everywhere else, no applied decoration spread across whole façades. Massing reads as a cluster of distinct linked stone-and-timber volumes of varying height grouped around planted courtyards, with one taller central hall carrying the highest, most prominent pitched and gabled roof of the whole group, and lower roofs cascading down from it over the surrounding wings. Courtyards throughout are planted with trees and low vegetation, paved in stone and clay with narrow gaps of moss and small plants between the joints, and lined with shaded arcaded walkways. People throughout the set: an ordinary cross-section of present-day Ecuadorian people of mixed ages — families, elderly visitors, museum staff, schoolchildren in everyday (not folkloric) clothing, and adult men and women in plain contemporary dress — painted loosely as small figures that give a sense of human scale rather than as detailed portraits, never in costume, regalia, or stereotype. Absolutely avoid: glass curtain walls, flat modernist roofs, exposed grey concrete, a single monolithic tower or box, chrome or glossy surfaces, any text, logos, signage, or watermark, and any hint of a generic "iconic" contemporary museum silhouette — this building is deliberately unspectacular, grounded, and human-scaled.

Suggested framing: elevated three-quarter view looking across the forecourt toward the entrance portal, landscape orientation.

4. The entrance portal

Warm architectural watercolor and gouache illustration, painted on textured cold-press paper, loose confident brushwork with visible paper grain, soft bled edges, no hard photographic realism and no 3D-render or CGI look. The building is Casa de la Memoria Andina, a new national museum in Quito, Ecuador, at high Andean altitude almost exactly on the equator. A close, symmetrical view of the museum's main entrance: a deep stone portal built as a rhythm of five bays, projecting slightly from the white wall plane around it, sheltered under the low, deep edge of the roof above. Stonework at the portal is the most heavily worked surface in the whole building — carved stepped (chakana) mouldings and diamond-coursed masonry bands frame the door reveals, most densely at the centre bay. Dark walnut doors stand open; a wrought-iron grille is visible in a side window. A few figures — an adult and a child hand in hand — are entering, small against the depth of the portal, giving a sense of its scale. Rain-darkened stone glistens in raking late afternoon light. Fixed lighting and weather for every image in this set: the moment just after an afternoon rainstorm has passed — pavements and roof tiles still dark and glistening with rain, puddles reflecting the sky, a few scattered clouds breaking apart, and warm late-afternoon equatorial sunlight breaking through at a high, almost overhead angle, catching wet stone and throwing soft warm highlights while shadows stay cool and blue-grey. Material and color palette, held constant throughout: a heavy plinth and ground floor of dark grey volcanic andesite stone; thick, monolithic walls above rendered in matte lime-white limewash; a lighter upper level and roof structure of dark honey-brown timber; deeply overhanging roofs of natural red-brown clay tile with sharp shadow lines beneath the eaves; window carpentry, doors and balcony rails in dark walnut-brown wood; window grilles and metalwork in near-black wrought iron; a narrow band of muted dark oxblood-red paint along the base of some walls, never the whole wall. Colour stays quiet and mostly monochrome (white, grey stone, brown timber, red-brown tile) with small, deliberate accents of color on doors, shutters, and ironwork only — never a brightly coloured building. Ornament is geometric and restrained: stepped Andean cross (chakana) motifs and diamond-coursed stonework patterns appear only at the base of walls, around door and window thresholds, and along roof cornices — plain white or timber wall surfaces everywhere else, no applied decoration spread across whole façades. Massing reads as a cluster of distinct linked stone-and-timber volumes of varying height grouped around planted courtyards, with one taller central hall carrying the highest, most prominent pitched and gabled roof of the whole group, and lower roofs cascading down from it over the surrounding wings. Courtyards throughout are planted with trees and low vegetation, paved in stone and clay with narrow gaps of moss and small plants between the joints, and lined with shaded arcaded walkways. People throughout the set: an ordinary cross-section of present-day Ecuadorian people of mixed ages — families, elderly visitors, museum staff, schoolchildren in everyday (not folkloric) clothing, and adult men and women in plain contemporary dress — painted loosely as small figures that give a sense of human scale rather than as detailed portraits, never in costume, regalia, or stereotype. Absolutely avoid: glass curtain walls, flat modernist roofs, exposed grey concrete, a single monolithic tower or box, chrome or glossy surfaces, any text, logos, signage, or watermark, and any hint of a generic "iconic" contemporary museum silhouette — this building is deliberately unspectacular, grounded, and human-scaled.

Suggested framing: frontal, centred, portrait or square orientation to emphasise verticality and depth of reveal.

5. The Patio of Origins

Warm architectural watercolor and gouache illustration, painted on textured cold-press paper, loose confident brushwork with visible paper grain, soft bled edges, no hard photographic realism and no 3D-render or CGI look. The building is Casa de la Memoria Andina, a new national museum in Quito, Ecuador, at high Andean altitude almost exactly on the equator. The first courtyard beyond the entrance passage — an open-to-sky stone-and-clay-paved court with narrow planted joints between the slabs, moss and small flowers growing in them. A shallow stone-lined water channel crosses the court, fed by a carved stone spout projecting from a roof edge, water still running from the just-passed storm. Shaded arcaded walkways line the court on at least two sides; doors open into it from several directions, including one marked informally as a community room. A handful of visitors stand under the sheltered arcade watching the last of the rain, while others cross the court in the returning sun. Wet paving throws soft reflections of the white walls and clearing sky above. Fixed lighting and weather for every image in this set: the moment just after an afternoon rainstorm has passed — pavements and roof tiles still dark and glistening with rain, puddles reflecting the sky, a few scattered clouds breaking apart, and warm late-afternoon equatorial sunlight breaking through at a high, almost overhead angle, catching wet stone and throwing soft warm highlights while shadows stay cool and blue-grey. Material and color palette, held constant throughout: a heavy plinth and ground floor of dark grey volcanic andesite stone; thick, monolithic walls above rendered in matte lime-white limewash; a lighter upper level and roof structure of dark honey-brown timber; deeply overhanging roofs of natural red-brown clay tile with sharp shadow lines beneath the eaves; window carpentry, doors and balcony rails in dark walnut-brown wood; window grilles and metalwork in near-black wrought iron; a narrow band of muted dark oxblood-red paint along the base of some walls, never the whole wall. Colour stays quiet and mostly monochrome (white, grey stone, brown timber, red-brown tile) with small, deliberate accents of color on doors, shutters, and ironwork only — never a brightly coloured building. Ornament is geometric and restrained: stepped Andean cross (chakana) motifs and diamond-coursed stonework patterns appear only at the base of walls, around door and window thresholds, and along roof cornices — plain white or timber wall surfaces everywhere else, no applied decoration spread across whole façades. Massing reads as a cluster of distinct linked stone-and-timber volumes of varying height grouped around planted courtyards, with one taller central hall carrying the highest, most prominent pitched and gabled roof of the whole group, and lower roofs cascading down from it over the surrounding wings. Courtyards throughout are planted with trees and low vegetation, paved in stone and clay with narrow gaps of moss and small plants between the joints, and lined with shaded arcaded walkways. People throughout the set: an ordinary cross-section of present-day Ecuadorian people of mixed ages — families, elderly visitors, museum staff, schoolchildren in everyday (not folkloric) clothing, and adult men and women in plain contemporary dress — painted loosely as small figures that give a sense of human scale rather than as detailed portraits, never in costume, regalia, or stereotype. Absolutely avoid: glass curtain walls, flat modernist roofs, exposed grey concrete, a single monolithic tower or box, chrome or glossy surfaces, any text, logos, signage, or watermark, and any hint of a generic "iconic" contemporary museum silhouette — this building is deliberately unspectacular, grounded, and human-scaled.

Suggested framing: ground-level view across the courtyard toward the arcade, landscape orientation.

6. The Great Hall interior, with the retablo wall

Warm architectural watercolor and gouache illustration, painted on textured cold-press paper, loose confident brushwork with visible paper grain, soft bled edges, no hard photographic realism and no 3D-render or CGI look. The building is Casa de la Memoria Andina, a new national museum in Quito, Ecuador, at high Andean altitude almost exactly on the equator. The soaring interior of the museum's tallest room: a broad pyramidal timber roof rises overhead with its structural framework fully exposed, ribs and beams visible in dark timber. The lower edge of the hall drops to a human scale — window seats, alcoves, an information counter — and a wide staircase turns along two walls, widening into broad steps near the floor where a few people sit and children gather. One end wall of the hall is the single ornamented surface in the entire building: a tall, tiered composition of niches and carved frames, warmly lit, holding abstracted sun and moon discs, stylised maize, Andean flowers, birds, and animal forms — a single glowing focal wall against otherwise plain white and timber surfaces. Soft daylight falls through high windows onto the stair and floor below. Fixed lighting and weather for every image in this set: the moment just after an afternoon rainstorm has passed outside the building — beyond the high windows, pavements and roof tiles are still dark and glistening with rain, with puddles and a few scattered clouds breaking apart, though none of this is directly visible from inside the hall — and warm late-afternoon equatorial sunlight now breaks through at a high, almost overhead angle, streaming in through the high windows and throwing soft warm highlights across the dry stone and timber surfaces of the stair and floor, while shadows deep within the timber roof structure stay cool and blue-grey. Material and color palette, held constant throughout: a heavy plinth and ground floor of dark grey volcanic andesite stone; thick, monolithic walls above rendered in matte lime-white limewash; a lighter upper level and roof structure of dark honey-brown timber; deeply overhanging roofs of natural red-brown clay tile with sharp shadow lines beneath the eaves; window carpentry, doors and balcony rails in dark walnut-brown wood; window grilles and metalwork in near-black wrought iron; a narrow band of muted dark oxblood-red paint along the base of some walls, never the whole wall. Colour stays quiet and mostly monochrome (white, grey stone, brown timber, red-brown tile) with small, deliberate accents of color on doors, shutters, and ironwork only — never a brightly coloured building, except for the one warmly lit figurative retablo wall described above, which is this building's single deliberate concentration of rich color and detail. Ornament everywhere else is geometric and restrained: stepped Andean cross (chakana) motifs and diamond-coursed stonework patterns appear only at the base of walls, around door and window thresholds, and along roof cornices — plain white or timber wall surfaces everywhere else, no applied decoration spread across whole façades. Massing reads as a cluster of distinct linked stone-and-timber volumes of varying height grouped around planted courtyards, with this central hall carrying the highest, most prominent pitched and gabled roof of the whole group, and lower roofs cascading down from it over the surrounding wings. People throughout the set: an ordinary cross-section of present-day Ecuadorian people of mixed ages — families, elderly visitors, museum staff, schoolchildren in everyday (not folkloric) clothing, and adult men and women in plain contemporary dress — painted loosely as small figures that give a sense of human scale rather than as detailed portraits, never in costume, regalia, or stereotype. Absolutely avoid: glass curtain walls, flat modernist roofs, exposed grey concrete, a single monolithic tower or box, chrome or glossy surfaces, any text, logos, signage, or watermark, any hint of a generic "iconic" contemporary museum silhouette, and any puddles, wet flooring, rain, or glistening wet surfaces anywhere inside the hall itself — the interior stair, floor, and walls are completely dry throughout; this building is deliberately unspectacular, grounded, and human-scaled.

Suggested framing: interior view from stair landing or floor level looking up into the roof structure and across toward the retablo wall, portrait or landscape orientation.

7. A circulation gallery (building thoroughfare)

Warm architectural watercolor and gouache illustration, painted on textured cold-press paper, loose confident brushwork with visible paper grain, soft bled edges, no hard photographic realism and no 3D-render or CGI look. The building is Casa de la Memoria Andina, a new national museum in Quito, Ecuador, at high Andean altitude almost exactly on the equator. One of the museum's main indoor circulation galleries — tall, wide, and daylit from clerestory windows along one side, closer in feel to an indoor street than a corridor. Its edges are lined with built-in seating, glass-fronted display niches, and doorways, with an interior window on one side revealing a glimpse of a workroom where an object is being examined. A small school group in a loose cluster moves through comfortably alongside individual visitors, without crowding. Fixed lighting and weather for every image in this set: the moment just after an afternoon rainstorm has passed outside — through a small window at the gallery's end, a distant glimpse of a still-wet courtyard shows dark, glistening paving and a few scattered clouds breaking apart, but that wetness is confined entirely to the small distant view through the glass; the gallery itself — its floor, walls, and seating — stays completely dry throughout, lit by warm late-afternoon equatorial sunlight breaking through at a high, almost overhead angle and spilling softly through the clerestory glazing, with interior shadows staying cool and blue-grey. Material and color palette, held constant throughout: a heavy plinth and ground floor of dark grey volcanic andesite stone; thick, monolithic walls above rendered in matte lime-white limewash; a lighter upper level and roof structure of dark honey-brown timber; window carpentry and doors in dark walnut-brown wood; window grilles and metalwork in near-black wrought iron; a narrow band of muted dark oxblood-red paint along the base of some walls, never the whole wall. Colour stays quiet and mostly monochrome (white, grey stone, brown timber) with small, deliberate accents of color on doors and ironwork only — never a brightly coloured interior. Ornament is geometric and restrained: stepped Andean cross (chakana) motifs and diamond-coursed stonework patterns appear only at the base of walls and around door and window thresholds — plain white or timber wall surfaces everywhere else, no applied decoration spread across whole walls. People throughout the set: an ordinary cross-section of present-day Ecuadorian people of mixed ages — families, elderly visitors, museum staff, schoolchildren in everyday (not folkloric) clothing, and adult men and women in plain contemporary dress — painted loosely as small figures that give a sense of human scale rather than as detailed portraits, never in costume, regalia, or stereotype. Absolutely avoid: glass curtain walls, flat modernist roofs, exposed grey concrete, a single monolithic tower or box, chrome or glossy surfaces, any text, logos, signage, or watermark, any hint of a generic "iconic" contemporary museum silhouette, and any puddles, wet flooring, rain, or glistening wet surfaces anywhere inside the gallery itself — the interior floor, walls, and seating are completely dry throughout; this building is deliberately unspectacular, grounded, and human-scaled.

Suggested framing: one-point perspective looking down the length of the gallery, landscape orientation.

8. The historical gallery route (Corredor of Time), common-room bay

Warm architectural watercolor and gouache illustration, painted on textured cold-press paper, loose confident brushwork with visible paper grain, soft bled edges, no hard photographic realism and no 3D-render or CGI look. The building is Casa de la Memoria Andina, a new national museum in Quito, Ecuador, at high Andean altitude almost exactly on the equator. A gallery within the historical wing, walls of limewashed earthen render with exposed dark timber beams overhead, maps and framed documents on the walls, and a scatter of domestic historical objects in low cases. The route widens at one point into a common-room bay: built-in seating around a bright window bay looking onto a courtyard, where a family and a small school group are resting together, a teacher pointing something out through the window. Fixed lighting and weather for every image in this set: the moment just after an afternoon rainstorm has passed outside — through the window bay, the courtyard beyond is glimpsed still wet and glistening, with a few scattered clouds breaking apart, but that wetness is confined entirely to the courtyard on the far side of the glass; the common-room bay itself — its seating, floor, and walls — stays completely dry throughout, lit by warm late-afternoon equatorial sunlight breaking through at a high, almost overhead angle and spilling through the window bay, with interior shadows staying cool and blue-grey. Material and color palette, held constant throughout: a heavy plinth and ground floor of dark grey volcanic andesite stone (glimpsed at the courtyard edge); thick, monolithic walls above rendered in matte lime-white limewash; a lighter upper level and roof structure of dark honey-brown timber; window carpentry, doors and balcony rails in dark walnut-brown wood; window grilles and metalwork in near-black wrought iron; a narrow band of muted dark oxblood-red paint along the base of some walls, never the whole wall. Colour stays quiet and mostly monochrome (white, grey stone, brown timber, red-brown tile) with small, deliberate accents of color on doors, shutters, and ironwork only — never a brightly coloured building. Ornament is geometric and restrained: stepped Andean cross (chakana) motifs and diamond-coursed stonework patterns appear only at the base of walls, around door and window thresholds, and along roof cornices — plain white or timber wall surfaces everywhere else, no applied decoration spread across whole façades. People throughout the set: an ordinary cross-section of present-day Ecuadorian people of mixed ages — families, elderly visitors, museum staff, schoolchildren in everyday (not folkloric) clothing, and adult men and women in plain contemporary dress — painted loosely as small figures that give a sense of human scale rather than as detailed portraits, never in costume, regalia, or stereotype. Absolutely avoid: glass curtain walls, flat modernist roofs, exposed grey concrete, a single monolithic tower or box, chrome or glossy surfaces, any text, logos, signage, or watermark, any hint of a generic "iconic" contemporary museum silhouette, and any puddles, wet flooring, rain, or glistening wet surfaces anywhere inside the gallery or common-room bay itself — the interior floor, walls, and seating are completely dry throughout; this building is deliberately unspectacular, grounded, and human-scaled.

Suggested framing: interior view angled to show both the gallery route and the bright window-bay seating area, landscape orientation.

9. The artistic wing's balcón and rooftop mirador

Warm architectural watercolor and gouache illustration, painted on textured cold-press paper, loose confident brushwork with visible paper grain, soft bled edges, no hard photographic realism and no 3D-render or CGI look. The building is Casa de la Memoria Andina, a new national museum in Quito, Ecuador, at high Andean altitude almost exactly on the equator. An upper-level gallery in the lightest, most timber-framed part of the building, opening through tall doors onto a long recessed covered balcony (balcón corrido) that overlooks the main courtyard below. Beyond it, a small roofed lookout bay is folded into the main roofline rather than built up as a tower, framing a single view outward across the rooftops of Quito toward the green flank of a distant volcano, its summit just clearing the breaking storm clouds. A couple of visitors lean on the balcony rail; another stands inside the lookout bay taking in the view. Fixed lighting and weather for every image in this set: the moment just after an afternoon rainstorm has passed — rooftops below still dark and glistening with rain, puddles in the courtyard reflecting the sky, a few scattered clouds breaking apart around the distant volcano, and warm late-afternoon equatorial sunlight breaking through at a high, almost overhead angle, catching wet rooftops and throwing soft warm highlights while shadows stay cool and blue-grey. Material and color palette, held constant throughout: a heavy plinth and ground floor of dark grey volcanic andesite stone (visible far below); thick, monolithic walls rendered in matte lime-white limewash; this level itself built lighter, in dark honey-brown timber; deeply overhanging roofs of natural red-brown clay tile with sharp shadow lines beneath the eaves; window carpentry, doors and balcony rails in dark walnut-brown wood; window grilles and metalwork in near-black wrought iron. Colour stays quiet and mostly monochrome (white, grey stone, brown timber, red-brown tile) with small, deliberate accents of color on doors, shutters, and ironwork only — never a brightly coloured building. Ornament is geometric and restrained: stepped Andean cross (chakana) motifs and diamond-coursed stonework patterns appear only at the base of walls, around door and window thresholds, and along roof cornices — plain white or timber wall surfaces everywhere else, no applied decoration spread across whole façades. Massing below reads as a cluster of distinct linked stone-and-timber volumes grouped around planted courtyards, roofs cascading down from the tall central hall over the surrounding wings. People throughout the set: an ordinary cross-section of present-day Ecuadorian people of mixed ages — families, elderly visitors, museum staff, schoolchildren in everyday (not folkloric) clothing, and adult men and women in plain contemporary dress — painted loosely as small figures that give a sense of human scale rather than as detailed portraits, never in costume, regalia, or stereotype. Absolutely avoid: glass curtain walls, flat modernist roofs, exposed grey concrete, a single monolithic tower or box, chrome or glossy surfaces, any text, logos, signage, or watermark, and any hint of a generic "iconic" contemporary museum silhouette — this building is deliberately unspectacular, grounded, and human-scaled.

Suggested framing: view from just inside the gallery looking out through the balcony toward the courtyard and the distant volcano, landscape orientation.

10. Deep recessed balcony, café terrace, and garden

Warm architectural watercolor and gouache illustration, painted on textured cold-press paper, loose confident brushwork with visible paper grain, soft bled edges, no hard photographic realism and no 3D-render or CGI look. The building is Casa de la Memoria Andina, a new national museum in Quito, Ecuador, at high Andean altitude almost exactly on the equator. The museum café, its glazed doors open onto a roofed veranda and a sunlit garden beyond, still wet from the storm. A deep, two-metre-plus recessed balcony along the wing above provides shelter overhead. A parent sits at a café table with their back to the building, watching two or three children playing in the garden ahead; other visitors sit under the veranda. Steam rises faintly from the warming wet paving in the returning sun. Fixed lighting and weather for every image in this set: the moment just after an afternoon rainstorm has passed — the garden still dark and glistening with rain, puddles reflecting the sky, a few scattered clouds breaking apart, and warm late-afternoon equatorial sunlight breaking through at a high, almost overhead angle, catching wet foliage and paving and throwing soft warm highlights while shadows stay cool and blue-grey. Material and color palette, held constant throughout: a heavy plinth and ground floor of dark grey volcanic andesite stone; thick, monolithic walls above rendered in matte lime-white limewash; a lighter upper level and roof structure of dark honey-brown timber; deeply overhanging roofs of natural red-brown clay tile with sharp shadow lines beneath the eaves; window carpentry, doors and balcony rails in dark walnut-brown wood; window grilles and metalwork in near-black wrought iron; a narrow band of muted dark oxblood-red paint along the base of some walls, never the whole wall. Colour stays quiet and mostly monochrome (white, grey stone, brown timber, red-brown tile) with small, deliberate accents of color on doors, shutters, and ironwork only, plus the natural greens of the garden planting — never a brightly coloured building. Ornament is geometric and restrained: stepped Andean cross (chakana) motifs and diamond-coursed stonework patterns appear only at the base of walls, around door and window thresholds, and along roof cornices — plain white or timber wall surfaces everywhere else, no applied decoration spread across whole façades. Courtyards and gardens throughout are planted with trees and low vegetation, paved in stone and clay with narrow gaps of moss and small plants between the joints, and lined with shaded arcaded walkways. People throughout the set: an ordinary cross-section of present-day Ecuadorian people of mixed ages — families, elderly visitors, museum staff, schoolchildren in everyday (not folkloric) clothing, and adult men and women in plain contemporary dress — painted loosely as small figures that give a sense of human scale rather than as detailed portraits, never in costume, regalia, or stereotype. Absolutely avoid: glass curtain walls, flat modernist roofs, exposed grey concrete, a single monolithic tower or box, chrome or glossy surfaces, any text, logos, signage, or watermark, and any hint of a generic "iconic" contemporary museum silhouette — this building is deliberately unspectacular, grounded, and human-scaled.

Suggested framing: eye-level view from just inside the café looking out through the veranda to the garden, landscape orientation.

11. Stonework and timber detail at the portal (close-up)

Suggested framing: tight close-up, square orientation, raking light from one side to emphasise carved relief and texture.

12. A courtyard elevation showing the full material and color palette

Suggested framing: flat, frontal elevation view, landscape or square orientation, even light across the whole wall.

13. Departure: the entrance room looking back to the atrio

Warm architectural watercolor and gouache illustration, painted on textured cold-press paper, loose confident brushwork with visible paper grain, soft bled edges, no hard photographic realism and no 3D-render or CGI look. The building is Casa de la Memoria Andina, a new national museum in Quito, Ecuador, at high Andean altitude almost exactly on the equator. The view from just inside the museum's entrance room, looking back out through the deep portal toward the Civic Atrio and the street beyond, at the end of the day. A few visitors are leaving, walking away from the camera toward the light; the sky beyond has cleared to a warm late-afternoon gold, silhouetting the low sitting-walls and trees of the atrio and the city skyline beyond. Warm interior light spills from the entrance room into the cool shadow of the portal passage. Fixed lighting and weather for every image in this set: the moment just after an afternoon rainstorm has passed — the forecourt paving beyond still glistening with rain, a few scattered clouds breaking apart low on the skyline, and warm late-afternoon equatorial sunlight breaking through at a low golden angle outside while the portal passage itself stays in cool blue-grey shadow. Material and color palette, held constant throughout: a heavy plinth and ground floor of dark grey volcanic andesite stone; thick, monolithic walls above rendered in matte lime-white limewash; a lighter upper level and roof structure of dark honey-brown timber; deeply overhanging roofs of natural red-brown clay tile; window carpentry, doors and balcony rails in dark walnut-brown wood; window grilles and metalwork in near-black wrought iron; a narrow band of muted dark oxblood-red paint along the base of some walls, never the whole wall. Colour stays quiet and mostly monochrome (white, grey stone, brown timber, red-brown tile) with small, deliberate accents of color on doors, shutters, and ironwork only — never a brightly coloured building. Ornament is geometric and restrained: stepped Andean cross (chakana) motifs and diamond-coursed stonework patterns appear only at the base of walls, around door and window thresholds, and along roof cornices — plain white or timber wall surfaces everywhere else, no applied decoration spread across whole façades. People throughout the set: an ordinary cross-section of present-day Ecuadorian people of mixed ages — families, elderly visitors, museum staff, schoolchildren in everyday (not folkloric) clothing, and adult men and women in plain contemporary dress — painted loosely as small figures that give a sense of human scale rather than as detailed portraits, never in costume, regalia, or stereotype. Absolutely avoid: glass curtain walls, flat modernist roofs, exposed grey concrete, a single monolithic tower or box, chrome or glossy surfaces, any text, logos, signage, or watermark, and any hint of a generic "iconic" contemporary museum silhouette — this building is deliberately unspectacular, grounded, and human-scaled.

Suggested framing: interior-to-exterior view looking straight out through the portal, landscape orientation, strong light/dark contrast between interior shadow and the bright forecourt beyond.

47 KiB Raw Blame History