# Design Language for eyes.team ## Aesthetics and Tone eyes.team is **a Dessau workshop reopened on the second floor of a friendly municipal co-working building**, where the strict primary-colored geometry of the original Bauhaus has been re-tuned through an *analogous* sunrise palette and warmed into a tone that an off-shift colleague might use over coffee. The thesis is small, sincere, and load-bearing: **eyes are the team — every pair of eyes on a project is a teammate, every glance is a contribution, and the team is what you see together.** The site is not a Bauhaus tribute, not a primary-color Mondrian homage, and not a corporate "design-system" landing page. It is **a working studio bulletin** addressed to the people you already collaborate with, posted on the cork wall of a sunlit eastern-facing room above a tram stop in a small modernist city. The mood collision is the load-bearing one. **Bauhaus aesthetic at 7% in the registry meets approachable-casual tone at 3%** — and the historical Bauhaus is famously *not* approachable-casual; it is austere, manifesto-driven, didactic, and politically severe. eyes.team's commitment is to borrow the Bauhaus *grammar* — the grid, the geometric primitives, the clean grotesque, the workshop ethos, the sequenced curriculum — and re-vowel it in the casual register of **a modern small team that genuinely likes each other.** Every Bauhaus visual move on this site has been audited for stiffness and translated into a friendlier voice. The circle is not a "form-study"; it is *the team's morning sun coming through the studio window*. The triangle is not a manifesto-arrow; it is *a paper-airplane standup invitation*. The square is not a Klee compositional exercise; it is *a teammate's desk*. The Bauhaus survives, but as a *workshop with the door open*. The tonal voice across the page is **the second-person plural in the warm register**: "your team's eyes," "the work you see together," "the things you noticed this week," "what you are building, together." There is no marketing voice, no product voice, no "we believe" preamble, no manifesto block. The copy reads as **a Monday-morning email from a colleague who likes you**. The seven sections of the site are: *the eastern window* (hero), *the bulletin* (this week's noticings), *the worktable* (current shared project), *the curriculum* (what the team is learning), *the coffee corner* (informal asides), *the post-box* (asynchronous notes from teammates), and *the sundown* (closing reflection). Above all, the site is **a sunrise-to-sundown narrative of one good working day, told in Bauhaus shapes that are no longer trying to instruct anyone.** The didactic clenched fist of the original movement has loosened into an open hand. The geometry remains; the lecture has ended. The studio is open, the kettle is on, and the team is already arriving. ## Layout Motifs and Structure The structural commitment is **sidebar at 26% in the registry — claimed and made load-bearing as a real Bauhaus *vertikale*** rather than as a generic SaaS navigation rail. Generic sidebars on the contemporary web are utility chrome: a fixed 240px column of nav items with icons, a logo at the top, a footer at the bottom, the rest of the viewport eaten by the content pane. eyes.team rejects that pattern entirely. The sidebar here is **a 320px-wide *Studienkarte* — a Bauhaus pedagogical study-card pinned to the leftmost edge of the page** — and it does the actual visual work of the site, holding the chronology of the day as a vertical Klee-style ascending color-bar, with the seven section titles placed on the bar like beads on a thread. The sidebar is the *spine* of the whole experience; the right-hand content area is the *muscle*. The grid is the strict **8-column Itten teaching grid** at desktop (1280px+), collapsing to a 4-column at tablet (768–1279px), and to a single-column with sidebar-as-header at mobile (<768px). Every visual element on the page snaps to this 8-column rhythm, and every section break occurs on a horizontal that is divisible by the **golden Bauhaus row-height of 56px** — the row-height chosen because it is the smallest integer that is comfortably divisible by the Itten 4-row chord and produces no sub-pixel rendering across common DPI multiples. The grid is **visible as a printed mark, not invisible scaffolding**. A 1px hair-rule of color `#1A1916` is dropped at every column boundary, set at `opacity: 0.04` — present, audible, but not intrusive — so the reader can *feel* the studio grid the way a Bauhaus student would feel the cork-board grid behind a pinned study. The page chronology runs **west-to-east, sunrise-to-sundown, top-to-bottom** along the sidebar's color-bar. The bar is a single SVG `` from `#F4E3D0` (the morning eastern-window cream) at the top, through `#F0B27A` (mid-morning warmth), `#E08E5E` (mid-day burnt-amber), `#C76D4A` (afternoon brick), to `#7A3E2C` (sundown sienna) at the bottom — the analogous palette in seven equally-spaced stops. Each section title is a 14-point Inter Tight letter-spaced label sitting on the gradient at the appropriate hour, and a tiny solid-disc marker in the section's signature color is placed to the left of the label. As the reader scrolls through the right-hand content, the disc that corresponds to the currently-visible section pulses gently — a `2.4s ease-in-out` opacity oscillation between 0.6 and 1.0 — communicating "you are here on the day-clock" without arrows, breadcrumbs, or progress bars. The right-hand content area is a **vertical stack of seven full-bleed-on-the-right *worktable* panels**, each 100vh tall, each anchored to one Bauhaus primitive (square, circle, triangle, half-circle, rectangle, semicircle, and the seven-pointed star that the Bauhaus never used and that eyes.team adopts as its signature). The primitives are not decorative; they are **the layout containers themselves.** Section 3 (*the worktable*) is laid out *inside* a 720×720 black square with 40px white inner padding; section 4 (*the curriculum*) is laid out *inside* a 720-diameter circle, with text wrapping along the chord; section 6 (*the post-box*) is laid out *inside* an upward triangle, the post-box notes stacked from base to apex. The primitives are CSS `clip-path` shapes, not images, and they hold real flowing copy that re-flows on resize. The structural rule of the page is **the Itten chord**: every full panel must contain exactly one primitive, exactly one solid-color block from the analogous palette, exactly one piece of typography, and exactly one human noticing. Four elements per panel, no more, no less — a Bauhaus *Vorkurs* exercise restated as a CSS rule. The whole page is therefore **seven panels × four-element chord = 28 visual events**, plus the sidebar spine, plus the eastern-window hero. The reader walks down the studio's sunrise-to-sundown timeline and sees, on the right, a single primitive doing one thing well per hour of the working day. There is no header, no footer, no navigation bar, no hamburger, no breadcrumb, no scroll-progress indicator, no "back to top" button. The sidebar is the navigation. The grid is the ornament. The day-clock is the chronology. Everything else is *worktable*. ## Typography and Palette **Typefaces — Google Fonts only, every face confirmed available on `fonts.google.com`:** - **`Inter Tight`** (variable, weights 100–900). This is the principal grotesque face and claims the **typography: sans-grotesk at 5%** vocabulary entry. Inter Tight is the condensed sibling of Rasmus Andersson's Inter — a humanist neo-grotesque whose tighter horizontal rhythm reads as a **modern Akzidenz-Grotesk**, exactly the family the Bauhaus would have reached for if Akzidenz had been variable. Used at three sizes only: 14pt for sidebar labels and meta-text (weight 500, letter-spaced 0.08em, all-uppercase for sidebar section labels), 22pt for body copy (weight 400, line-height 1.55, letter-spacing 0), and 88pt for the eastern-window hero greeting "good morning, team." (weight 700, letter-spacing -0.03em). The 14pt and 22pt are paired in a strict 1:1.571 ratio — the closest integer approximation of phi available at integer point sizes — which means body text and labels read as *related kin*, not as a typography-hierarchy lecture. - **`Archivo`** (variable, weights 100–900). The display companion, used **only** for the seven Bauhaus-primitive section numerals (01–07) that anchor each panel. Archivo is Omnibus-Type's open-source grotesque whose disciplined geometric construction — true circular bowls on `o`, `c`, `e`; a perfectly horizontal `t` crossbar; flat `a` apex — reads like a workshop *Werkmeister's stencil*. The seven numerals are set at 280pt, weight 200 (yes, ultra-thin — Bauhaus pedagogy preferred *light* numerals against *heavy* primitives), with letter-spacing 0.18em, in cream `#F4E3D0` on the section's signature solid block. They are large enough to function as visual anchors but light enough to read as *handwriting at scale*, not as marketing display. - **`JetBrains Mono`** (weight 400 only). The single mono face, used **only** for two purposes: the timestamp meta on each *post-box* note (e.g., `09:42 — Hye-jin`), and the four-character grid coordinates printed on the sidebar at every section boundary (e.g., `C-04`, `D-07`). JetBrains Mono is the most *workshop-bench* of the open mono faces — it has the slight humanist softness of a draftsman's hand and avoids the cold tech-mono-at-95%-frequency cliché when used in this minimal supporting role. **JetBrains Mono never carries body content. It carries only timestamps and grid coordinates.** That is three faces total. No fourth face. No serif. No display-script. No icon-font. The Bauhaus discipline is **the absence of the fourth voice**. **Type-color is monochromatic, never colored.** All running text is `#1A1916` (a near-black that has been warmed two points toward umber to harmonize with the analogous palette and to avoid the harshness of pure `#000000`). Reverse-on-block text is `#F4E3D0` (the morning cream). Active links — and there are exactly four on the entire page — are `#1A1916` underlined with a 2px solid bar in the link's parent-section color, drawn underneath the descender on hover. **The Palette — analogous at 5% in the registry, claimed as load-bearing:** The eight-stop analogous chord runs **east-to-west on the warm hemisphere of the color wheel**, anchored at orange-amber (the morning sun) and walked in seven equal hue-shifts toward red-sienna (the sunset). The palette is mathematically derived: starting at HSL hue 38° (morning amber) and ending at HSL hue 18° (sundown sienna), with seven intermediate stops at 35°, 32°, 29°, 26°, 23°, 20°. The saturation walks from 78% at sunrise down to 56% at sundown; the lightness walks from 88% at sunrise down to 32% at sundown. The result is **a single rope of color that reads as one continuous warm hour of the day**, never breaking into a "color scheme." The eight resolved stops, each used with intent: - `#F4E3D0` — **dawn cream** (HSL 33° 65% 88%). The page substrate, the sidebar text-on-bar color, the section-numeral fill. *Used as background, never as accent.* - `#F0B27A` — **mid-morning warmth** (HSL 28° 80% 71%). Section 1 signature color (the eastern window). *Used for the hero block and the disc marker on the day-clock.* - `#E89A5E` — **late-morning peach** (HSL 24° 78% 64%). Section 2 (the bulletin). *Used for the bulletin's solid-color block.* - `#E08E5E` — **mid-day burnt-amber** (HSL 22° 70% 62%). Section 3 (the worktable). *Used for the inner-fill of the 720×720 worktable square.* - `#D27852` — **afternoon copper** (HSL 18° 60% 57%). Section 4 (the curriculum). *Used for the chord-text on the curriculum circle.* - `#C76D4A` — **late-afternoon brick** (HSL 16° 55% 53%). Section 5 (the coffee corner). *Used for the coffee-corner aside-block.* - `#A85A3D` — **early-evening rust** (HSL 14° 47% 45%). Section 6 (the post-box). *Used for the post-box triangle fill.* - `#7A3E2C` — **sundown sienna** (HSL 13° 47% 32%). Section 7 (the sundown). *Used for the closing reflection's full-panel block and for active-link underlines.* A neutral pair sits underneath: `#1A1916` (warmed near-black, all running text) and `#F4E3D0` (the cream, page substrate). **No grays. No blues. No greens. No purples.** The page is monochromatic-in-warmth, plus type-black, plus type-cream. That is the entire visual vocabulary. ## Imagery and Motifs **Imagery substrate: gradient-mesh at 19% in the registry — but claimed here as a single, large, slow-breathing morning-light mesh that is the only "image" on the entire page**, replacing photography (at 98% — and absent here) and replacing the conventional gradient-mesh idiom (which is almost always a purple-aurora SaaS hero). eyes.team's gradient mesh is **a single SVG ``-driven warm-amber atmosphere** that occupies the hero-window of section 1 and *only* section 1, simulating the way morning light pools on a studio floor through east-facing window glass. The mesh has eight color stops drawn from the analogous palette, arranged on a 6×4 perlin-noise lattice, and breathes — slowly, at a 24-second cycle — between two reference grids, simulating the wandering of a sun-spot across cork-board over the course of a real morning. It is the only piece of "atmosphere" on the site; everything else is **flat geometric primitive on flat solid color**. **Motif: city-urban at 3% in the registry — claimed and inverted into a *small modernist city*, not a generic skyline.** Generic city-urban motifs on the web default to silhouetted Manhattan skyscrapers, neon Tokyo signage, or isometric Sim-City tiles. eyes.team's city is **a flat-frontal SVG diagram of a low-rise mid-century European workshop town** — three-to-five-story masonry buildings of `#F0B27A` plaster, with `#7A3E2C` shutters and `#1A1916` ironwork balconies, drawn in pure flat-fill SVG with no perspective and no shadow. The city sits at the bottom 15vh of the page as a continuous panoramic strip behind the *sundown* section, and a single tram (the team's tram) runs slowly across it on a 90-second loop, its windows lit in `#F4E3D0` cream. The city is **a working-class modernist town with no skyscrapers, no neon, no parallax depth, no lens-flare, no "future."** It is the small Saxon city around the Bauhaus, in 1925, on a Tuesday afternoon, lit from the west. The city's seven buildings each carry a window-light pattern that maps, one-to-one, to one of the page's seven sections. The pattern is a 3×4 grid of SVG rectangles per facade, each rectangle either lit (fill `#F4E3D0`) or dark (fill `#1A1916`). The lit-pattern is generated from a fixed seed for each section and stays constant across page-loads — the city has consistent inhabitants, who are home, with their lights on. Read together, the seven lit-patterns spell `e.y.e.s.t.e.a.m.` in a CSS `letter-spacing: window-grid-as-typography` joke that is intentionally never explained on the page. **The seven Bauhaus primitives** (the per-section "form" anchors) are not images — they are CSS `clip-path` shapes that hold the section's text. They are listed strictly: 1. *Eastern window* — the gradient-mesh atmosphere itself, framed by an outline rectangle. 2. *Bulletin* — a square (`clip-path: inset(0)`). 3. *Worktable* — a square at 720×720 (the worktable surface itself). 4. *Curriculum* — a circle (`clip-path: circle(50% at 50% 50%)`). 5. *Coffee corner* — a half-circle (`clip-path: ellipse(50% 100% at 50% 100%)`). 6. *Post-box* — an upward triangle (`clip-path: polygon(50% 0, 0 100%, 100% 100%)`). 7. *Sundown* — a seven-pointed star, drawn as a 14-vertex polygon, signed in code as the team's logo. This star is the **one Bauhaus primitive that the historical Bauhaus never used**, and is offered here as eyes.team's contribution to the curriculum. **Decorative atomic elements** (used sparingly, never repeated): - A 24×24 SVG paper-airplane glyph, drawn in three flat triangles of `#1A1916`, used **once** as the sole bullet-marker for *post-box* notes. - A 32×32 SVG steaming-coffee-cup glyph, used **once** at the *coffee corner* heading. - A 16×16 SVG morning-sun glyph (a circle with eight short rays), used **once** at the top of the sidebar as the day-clock origin. - The tram silhouette in the city panorama, drawn as five flat rectangles plus two circles (wheels), in `#7A3E2C` with `#F4E3D0` windows. There are no avatars, no headshots, no team-photos, no logos, no testimonials, no quote-marks, no emoji, no flags, no flags-stylized-as-pins, no map, no globe, no checkmarks, no abstract-blob. The visual world is **the eight-color analogous chord, three Bauhaus primitives in the layout, seven primitives anchoring sections, one gradient-mesh atmosphere, one small flat city, and four atomic glyphs.** That is the imagery budget. Nothing else passes the door. ## Prompts for Implementation Build eyes.team as **one HTML document, one CSS file, one ES module, no framework, no build step, no preprocessor, no bundler, no JavaScript framework, no Lottie, no WebGL, no canvas-painted text.** The asset budget is finite and named: - `dawn-mesh.svg` (the morning gradient-mesh atmosphere with `` and ``, ~14kb) - `city.svg` (the flat-frontal modernist town with tram, 1280×360, ~28kb) - `glyphs.svg` (a single sprite-sheet with `` references for the airplane, the coffee-cup, the morning-sun, and the seven-pointed star, ~6kb) - `grid.svg` (the visible 8-column hair-rule grid at 0.04 opacity, single tileable SVG, ~3kb) That is **four SVG files, no PNGs, no JPGs, no WebP, no MP4, no font files beyond the three Google Fonts links.** Total page weight target: under 90kb gzipped including the three font subsets. The discipline is *Bauhaus-poor* — every byte present is load-bearing. **Animation grammar: tilt-3d at 25% in the registry — claimed and re-tuned to be quiet, slow, and load-bearing rather than mouse-chasing.** Generic tilt-3d on the contemporary web is a card-hover effect: cursor enters a card, card rotates 8° on each axis tracking the cursor, cursor leaves, card resets. eyes.team rejects the cursor-tracker pattern entirely — there is no `mousemove` listener on this site — and re-implements tilt-3d as **a slow per-section re-orientation of the seven Bauhaus primitives, governed by scroll position alone.** The rule: each of the seven primitives has a baseline `transform: rotateX(0) rotateY(0) rotateZ(0)`, and as its panel enters the viewport the primitive rotates along three coupled axes by *exactly 4°, 7°, and 11°* (three coprime small primes — a Bauhaus *Werkmeister's number-set*) over a 1200ms ease-out, settling at the new resting tilt and holding. The primitive does **not** snap back when the panel leaves; the new tilt is permanent for the session. The reader who scrolls all the way to *sundown* and back to the top finds **a workshop in which every form has been touched, used, and put back at a slightly more interesting angle than they found it.** The metaphor is precise and intended: a working day leaves the studio's tools subtly rearranged. The seven-pointed star at *sundown*, being the team's signature, tilts the most — `rotateX(11°) rotateY(11°) rotateZ(11°)` — and pulses its tilt at a slow 4-second oscillation as a closing note. The tilt is implemented as a single `IntersectionObserver` per section, with a `requestAnimationFrame` ease, no GSAP, no Framer-Motion, no library. The total tilt-3d JavaScript fits in **under 80 lines** including the easing function. The whole site's JavaScript fits in **under 240 lines** — comparable to a 1925 Bauhaus pamphlet's word-count. **Storytelling sequence (the seven scrolls):** 1. **Eastern window.** Sunrise-cream substrate. Gradient-mesh atmosphere breathing slowly. Inter Tight 88pt: *"good morning, team."* Sidebar disc 1 (mid-morning warmth) pulses. Reader holds for 2–4 seconds before scrolling. The page is *quiet*. 2. **Bulletin.** Late-morning peach square at 720×720, centered in the right-hand content area, 12° initial tilt. Inside the square: three short noticings from the past week, set in Inter Tight 22pt body, each prefixed by a 14pt grid-coordinate timestamp in JetBrains Mono. *"This week we noticed: …"* 3. **Worktable.** Mid-day burnt-amber 720×720 square, the largest visual primitive on the page, holding the current shared project. Inside: a single Archivo-200-280pt numeral `03`, and below it a four-line plain-language paragraph in Inter Tight 22pt about what the team is making. **No screenshots. No mockups. No demos.** Just the description, in the team's own words. 4. **Curriculum.** Afternoon copper circle, 720 diameter, holding three short lines about what the team is *learning* this month — one book, one tool, one open question. The text is set on a chord through the circle, line-broken to fit the bowl. The Archivo `04` numeral floats at the top-left of the circle, partially clipped. 5. **Coffee corner.** Late-afternoon brick half-circle, hugging the bottom-right of the panel. Two informal asides: a recipe a teammate brought in, a song that was on. Inter Tight 22pt italic. The 32×32 steaming-coffee-cup glyph sits to the left. 6. **Post-box.** Early-evening rust upward triangle, 720 base × 720 height. Inside: four asynchronous notes from teammates — set in Inter Tight 22pt with JetBrains Mono timestamps — stacked from triangle-base toward triangle-apex, each prefixed by the 24×24 paper-airplane glyph. The triangle's apex is sharp, deliberate. 7. **Sundown.** Sundown-sienna full-panel block, the seven-pointed star at center holding the closing reflection in cream Inter Tight 22pt: *"the day's eyes are closed. tomorrow we open them again, together."* The city panorama runs along the bottom 15vh; the tram is at its westernmost station, lit warmly. The star pulses its tilt slowly. The page ends. **Scroll behavior** is native, smooth, no `scroll-snap`. The reader's body is in charge of pacing, not the site's. The day takes as long as the reader wants it to take. **Bauhaus storytelling rule:** every panel describes **a small, real thing the team did or saw or made**, in plain second-person-plural language, with no marketing voice. The site's content is, fundamentally, **a bulletin from a team to itself**. Bias every implementation decision toward the warmth, slowness, and concrete specificity of a real working day in a sunlit room. **Avoid:** CTA buttons, "Get started" prompts, pricing tiers, stat-grids, testimonial blocks, customer-logo strips, feature-comparison tables, FAQ accordions, newsletter signup modals, exit-intent popups, dark-mode toggles, language switchers, "as seen in" logos, success-counter animations, parallax-depth scenes, mouse-chasing parallax, Lottie illustrations, isometric-icon walls, gradient-purple-to-pink hero blobs, Ken-Burns photo zooms. The Bauhaus has nothing to sell. The team is already here. ## Uniqueness Notes This design commits to differentiators chosen explicitly to avoid duplication with other CMassC sites and to lean into the underused half of the registry. The full Planned Seed is **`aesthetic: bauhaus, layout: sidebar, typography: sans-grotesk, palette: analogous, patterns: tilt-3d, imagery: gradient-mesh, motifs: city-urban, tone: approachable-casual`** — and every dimension is committed to load-bearingly: 1. **Bauhaus aesthetic re-tuned for approachable-casual tone.** Bauhaus is at 7% in the registry; approachable-casual tone is at 3%. Their *intersection* in the existing CMassC corpus is functionally zero, because every prior Bauhaus-leaning site has paired the aesthetic with an authoritative, manifesto-voiced, didactic register — which is the historically accurate register and also the cliché. eyes.team's wager is that the Bauhaus *grammar* (grid, primitive, grotesque, workshop) is more powerful than the Bauhaus *rhetoric* (manifesto, severity, instruction), and that re-vowelling the grammar in a friendly second-person-plural voice produces something the registry has never seen: **a Bauhaus that talks to its team like a teammate, not like a lecturer.** This is the load-bearing tonal collision of the entire site. 2. **Sidebar reclaimed from utility-chrome to *Studienkarte*.** Sidebar is at 26% — common — but in nearly every prior use it is a fixed nav rail with logo, links, and footer. eyes.team converts the sidebar into **a vertical day-clock built from a single SVG `` walking through the analogous palette**, with seven solid-disc markers that pulse in sequence with scroll. The sidebar holds the *chronology* of the page, not the *navigation* of the site. The right-hand content area is the *muscle*; the sidebar is the *spine*. This inversion is not present in other CMassC sites that claim the sidebar slot. 3. **Analogous palette mathematically derived from one rope of warm hue.** Analogous is at 5%; in prior uses the term is loosely applied to "any palette of similar colors." eyes.team applies it strictly — eight stops walked at constant hue-step (~3°), saturation-step, and lightness-step on the HSL wheel from morning amber to sundown sienna — and assigns each stop to one of the seven sections plus the substrate. The palette **is** the page's chronology, and the chronology is the palette. No grays, no blues, no greens. The discipline is total. 4. **Tilt-3d reframed as scroll-only, cursor-never, slow-and-permanent.** Tilt-3d is at 25% — common — but is almost universally implemented as cursor-following hover-rotation on cards. eyes.team forbids the `mousemove` listener entirely and re-implements tilt-3d as **a one-shot, scroll-triggered, settle-and-hold rotation per Bauhaus primitive, governed by three coprime small primes (4°, 7°, 11°)**. The seven primitives accumulate their tilts across a reading session — the studio's tools are *touched, used, and put back at slightly more interesting angles* — and the metaphor is intentional: a working day leaves things subtly rearranged. 5. **Gradient-mesh restricted to one breathing morning atmosphere, not a hero-block cliché.** Gradient-mesh is at 19% and is almost always a hero-spanning purple-pink-aurora background blob. eyes.team places its single gradient-mesh **only inside the *eastern window* hero**, derives all eight stops from the analogous palette, and gives it a slow 24-second perlin-noise breathing cycle to simulate sun-spot drift across cork-board. Outside that one panel the entire page is **flat solid-fill on flat solid-fill** — the discipline of *one atmospheric event, then geometry alone for the remaining six panels.* 6. **City-urban motif redirected from skyscraper-skyline to small modernist Saxon town.** City-urban is at 3% — underused — and prior uses default to silhouetted Manhattan or neon-Tokyo. eyes.team draws **a flat-frontal panoramic SVG of a low-rise mid-century European workshop town with a single tram**, anchored at the bottom 15vh of the *sundown* panel. Three-to-five-story masonry, plaster facades, ironwork balconies, no skyscrapers, no neon, no perspective. The seven buildings' window-light patterns spell `e.y.e.s.t.e.a.m.` as a never-explained typographic joke encoded in 3×4 SVG-rectangle grids. 7. **Sans-grotesk as Inter Tight specifically (not generic Inter).** Sans-grotesk is at 5%, and most prior CMassC uses default to plain Inter. eyes.team chooses **Inter Tight** — the condensed sibling — because its tighter horizontal rhythm reads as a *modern Akzidenz-Grotesk*, the historically correct grotesque-family ancestor of the Bauhaus's preferred typography. The face is paired with **Archivo at ultra-thin 200** for the seven 280pt section numerals (Bauhaus pedagogy preferred *light* numerals against *heavy* primitives — an inversion-of-weight that no other CMassC site practices), and **JetBrains Mono at 400** restricted strictly to timestamps and grid coordinates, never body content. 8. **Bauhaus *Vorkurs* chord enforced as a CSS layout rule.** Each of the seven panels must contain *exactly* one Bauhaus primitive, one solid-color block from the analogous palette, one piece of typography, and one human noticing — four elements per panel, no more, no less. The rule is **stated in a comment at the top of the CSS file** and held without exception. The whole page is therefore 7 × 4 = 28 visual events plus the sidebar spine plus the eastern-window hero — a Bauhaus pedagogical exercise restated as a working web page. 9. **Avoidance of overused patterns (frequency analysis cross-check).** photography (98%), full-bleed (93%), parallax (95%), cursor-follow (83%), spring (81%), stagger (76%), magnetic (75%), card-grid (82%), centered (82%), warm-palette-generic (97%), gradient-generic (97%), mono-typography-generic (95%), hand-drawn (96%), pastoral-romantic (34%), warm-inviting (28%) — **every single one of these is absent from eyes.team.** The site is photography-free, parallax-free, cursor-follow-free, spring-free, stagger-free, magnetic-free, hand-drawn-free, and pastoral-free. The discipline is total avoidance of the 75th-percentile cliché. 10. **Sibling differentiation from `eyes.cash` and `eyes.plus`.** The two sibling sites in the `eyes.*` namespace pursue, respectively, a *skeuomorphic watercolor field-naturalist's ledger with diagonal-section 23.5°-axis chronology* (eyes.cash) and *a cottagecore-cum-bold-confident broadsheet with magazine-spread layout and Bebas Neue mastheads* (eyes.plus). eyes.team is **neither**: it is **a Bauhaus workshop bulletin with sidebar day-clock, analogous warm-rope palette, Inter Tight grotesque, scroll-only tilt-3d, and a small modernist city panorama at sundown.** Zero overlap in aesthetic, layout, typography, palette anchor, pattern grammar, imagery substrate, motif, or tone. The thesis differs too: eyes.cash says *attention is the only currency*, eyes.plus says *eyes are the surplus organ*, and eyes.team says **eyes are the team — every pair of eyes on a project is a teammate, every glance is a contribution.** The seed is committed to in full; no dimension has been softened or substituted. The page does what the seed says, and only what the seed says.