The engine

What the studio has taught the machine to do, under laws that never bend. Every piece carries the version that made it; the number moves only when a piece would build differently: how many times the laws have changed, then the capabilities and upgrades admitted under them.

1. L12026-07the lawscontained · seated · held by its studs · clear of its neighbours
2. L22026-08the lawsevery part in stock at a real price; a style's promises audited after placement
3. 12026-08depthrelief in plate steps - parts stand off the base and light draws the image as shadow
4. 22026-08strokesruns claimed whole before anything is placed, so a stroke cannot break
5. 32026-08latticeopen lattices where the image asks for air
6. 42026-08scalescontour scales that follow the image's own edges
7. 52026-08rhymea motif repeated where the image repeats
8. 62026-08meshthe fill - parts any structurally equal part may stand in for
9. 72026-08rhymethe motif keeps its density at every size - the count derives from area
10. 82026-09seatinga part rides only a stud it can reach - a supporter with no stud under a cell is swapped for its full-stud twin before the piece is proven
11. 92026-09landscape registera landscape is read as rock, foliage, grass, sand, foam and water - each a material with its own relief and moulds - not as a townhouse's body and sky
12. L32026-09the lawsfill that shows at a cliff, a hole or the piece's edge wears exactly the colour of the piece standing on it; a column that needs more elements than one order holds ships as two orders
13. 102026-09water registerwater is read by how it moves - calm, streaming, surf with foam - and each state is built with its own moulds
14. 112026-09the poster promptthe image model paints flat masses of colour; the engine makes the mosaic - the prompt never asks for tesserae
15. 122026-09eggs derived at build timeprinted pieces are chosen for every piece from what the picture uses and what is in stock - the same mechanism the first listed piece had by hand
16. 132026-09material schemasevery piece names what it is made of: a schema binds the piece's own classes to the material library and says where the labels came from - the model, a composer's data, or a hand - and the record keeps the schema's name
17. 142026-09the paint (the first stratum)a piece's class may wear glass: one transparent plate over a column built in the ground's own colour, so thin cloud shows the sea it hazes - the picture decides where, the schema decides what
18. 172026-09explicit regional treatments and same-colour support stackingExplicit regions can share a construction treatment across colours, with independently supplied relief and orientation; appearance promises are checked against the finished parts.
19. 182026-09bounded mixed-surface policies and the production body profileA region's mixed surface can order its parts by a bounded policy: largest footprint first, or seeded scales of one to eight cells; the production body profile exposes the studio's part-selection preference with a six-plate body cap; a reviewed colour grid passes through production construction unchanged.
20. 192026-09rhyme repeats: a print may land more than once under a preset's paramsThe rhyme (printed eggs) may place the same print up to `repeats` times when a preset asks, one more per round so every print gets its first site before any gets a second; spacing, the palette-debt law and the wanted count still cap it. Production's rhyme is unchanged (repeats 1).
21. 202026-09the second vocabulary: a vision schema names its classes for what a surface is doingA vision schema may carry its own vocabulary: names and prompts for the classes it binds, describing what a surface is doing (field, mass, fine texture, band, ground, cluster) rather than what is depicted. The vision passes show those names and the parse maps them back to the bound materials, so the same generators lay texture and relief on an abstraction. abstract_v1 is the first; default_v1 is unchanged.
22. 212026-09the Choices surface: piece sizes drawn from a measured face, from the whole stocked inventoryA calm field may draw each colour run's piece size from a measured face (the share of visible cells a finished piece covers with pieces of each area) instead of laying the largest piece that fits, and prefer the shaped part at that size. Under the outreach preset the measured face is Choices' own, the face draws from every face-eligible mould stocked in the colour, the calm sky role becomes low textured ground, and a printed egg may land up to three times. Production's own pieces are unchanged.
23. 222026-09the weighed pick: texture, variety and cost per cell choose the visible piece; a field's ground takes larger piecesA calm field may choose each visible piece by a weighed score instead of uniformly among the shaped pieces: texture (shaped, and raised while the field owes its raised share, the height from the piece itself), variety (the least-used piece in that colour) and cost per cell covered (price plus the maker's per-part pay), sampled so the surface stays random. A cell three or more cells from any other colour is the field's ground and draws larger pieces from a measured mix. Under the outreach preset the raised share is 28% and the ground mix is Choices' own. Production's own pieces are unchanged.
24. 232026-09the textile: a swatch as a recipe with dials (part mix, offset, row rule, spin rule, turbulence, what shows under)A region may be laid as a textile: a recipe of one-plate-thick tiles and plates with weights, laid in rows or columns or both ways, with joints aligned, staggered like brickwork or offset per row, an optional row rule (for example tiles on one row, plates on the next), a spin rule for shaped square pieces (one way, turned into circles, alternating into scales, or seeded like a Truchet), a turbulence dial that lets a declared share of pieces leave the rules, and a choice of what shows under a shaped piece: the backboard or a plate of the cell's own colour. Stock first: a recipe is resolved against stock per colour before anything is laid; its defining pieces, the fill and any base plate must be stocked in that colour or the recipe is not offered there, a minor piece out of stock simply leaves the mix, and nothing ever stands in for a piece. The layout is seeded so a rebuild is identical and two regions differ. No production role uses it yet: it is laid only where a material names it.
25. 242026-09the director: Jev reads the grid as text and directs the production maps (roles, the Choices centerpiece, the ground swatch, the lifted figure)An outreach study's maps may be directed before they are built. The grid is measured into regions and described in words; one vision reading adds what each region is in the picture, as observations only; a text-only semantic model (Jev) then answers typed questions: the work's material strategy, each region's role (ground, figure, opening, line) and weight, and which neighbours are one form. Code turns the answers into the maps: figures and lines take the Choices surface with its printed accents (the centerpiece, always), the ground and the openings take one swatch chosen from a closed library by its definition only, among the swatches that fit, are not restricted, and can be laid exactly as defined from stock in the ground's largest stocked colour; every other colour the ground covers keeps that swatch where it is stocked, else takes the nearest swatch stocked in that colour, else stays Choices (founder 2026-09-25: only what is available in that colour is selectable; nothing is swapped inside a recipe), and the ground lies on one plane while the figure keeps its relief lifted above it. A work read as an expressive assemblage is built as Choices everywhere on its derived depth. The study carries its own library (the base plus the one swatch) and its plan, both bound to the build by hash.

2 more entries were admitted for a particular series and are recorded on its own pieces; the version counts them.