3D. Bas-relief under raking light: dentil cornice, links inscribed between raised triglyphs, engraved wordmark, stone grain.

A small raised porphyry tablet, bevelled by the same raking light, capitals engraved into it. No drop shadow.

Inscribed like the nav, in red: Roman inscriptions had their grooves painted minium. A triglyph makes it the terminal metope.

A red panel flush with the frieze, a lit hairline where it meets the stone. The quietest, still a target.

The original: a bronze pour that cools while you watch, from white heat to metal to verdigris. WebGL fragment shader. Move the pointer to reheat it.

The original: a thousand stones fly in and stack into an obelisk, foundation first. three.js, one instanced draw call. Pointer nudges the camera.

Same stones, different shape: they assemble into a torch-bearer on a plinth, voxelised from a few primitives, with the flame lit as a point light. Low camera at dawn so it towers.

Two legs climb blind from either side along a true weighted catenary and meet at a red keystone dropped in last. Daylight and haze, the only light-ground variant in the block family.

Three thousand stones rise out of the ground rather than falling in, each course filling from the centre outward, while the camera cranes up with the top. Dusk light for long shadows.

The original: a construction document where the elevation draws itself, dimension strings appear, the title block fills from the first project, and it gets stamped. The figure is schematic.

Model space on a CAD screen. The country draws as a wireframe, every real project site is staked with a crosshair and its coordinates, and a cursor walks between them while the readout ticks. Uses the site's own projection and Sanity coordinates.

Graphite on yellow trace: a cut through the pedestal showing the stair inside, the mat and piles fifty feet down, the figure ghosted beyond the cut, and a red pencil revision cloud. A displacement filter roughens the lines.

Exploded axonometric on the blueprint sheet: six parts drawn floating apart with leaders and masses, then they drop into one stack. The isometric boxes are projected at build time, so it is static SVG animated with CSS.

Current pick. A Greek-key band incised into a fascia between two fillets; one SVG pattern drawn twice, dark up and light down, reads as a cut groove. A soft cool light drifts along the groove.

Heaviest. Entablature, a row of fluted Doric columns shaded round and casting shadows on the wall behind, three steps of stylobate carrying the page. Columns clip symmetrically on phones.

Three broad steps down from the hero to the page, treads lit along the edge, risers in shadow, the last casting onto the paper.

Lightest. A single moulded course across the facade, a cyma profile in highlight and shadow lines, its shadow fading onto the page.

The technological reading: a shallow channel cut across the stone with a thread of blue light in it and a pulse travelling along every few seconds.

Current pick. A numbered register cut into a raised tablet, one row per project; click or tap a row to set the cover in the niche beside it, hover peeks. The caption plate under the niche carries the link to the project.

A hall of pedestals on one ground line. Each cover stands on a stone block with its inscription cut into the dado; blocks vary in height like a sculpture court. Hover lifts the plinth and warms the light from above. Planned works are a translucent block still being cut.

The map is the section. A surveyor's plat on paper: the country in outline, every site staked with a red pin and its name, a marble slab that slides along the foot to sit under the chosen pin while a line drops to it and the coordinates tick over. Pins are the controls.

One continuous band across the page like a temple frieze: tall panels between fluted pilasters, a metope above each carrying its status, a running inscription cut beneath. Scrolls sideways; a column of panels on phones. Click goes to the project.

The shipped section for comparison: tile cards on a rail, map below, detail beside it.

Roman temple podium: a cyma cap the page stands on, a tall die carrying the columns and the dedication with interpuncts, an Attic base (torus, scotia, torus), the legal line inscribed in the plinth.

Heaviest. The page ends on a light levelling course at grade; below the ground line the foundation goes down in dark polygonal masonry to ink, the biggest stones at the bottom. Paper text on stone.

Coursed drafted-margin blocks in running bond, larger toward the ground, iron clamps across the joints. A moulded water table where the page meets the wall; the columns sit on a course of orthostates.

Quietest. A flat plinth with a contact shadow at the seam and a darker course at the foot. One quoin set into the corner, the year cut into it in Roman numerals.

The drawing: a heavy grade line with hatch ticks, hatched earth, the wall and its stepped footing cut in section as blank paper outlined in ink, labels in blueprint blue. Pairs with the Blueprint heroes.