Rectangular locally. Circular globally. Enormous through repetition.
Architecture combines antique/Romanesque semicircular structural logic with cathedral-like vertical complexity, oversized ornate masonry, radial organization and immense interior voids. It must not become literally Roman, Greek or Gothic.
Use oversized rectangular masonry, straight galleries, platforms, walls, piers, stairs, bridges/supports, semicircular arches, vaults, channels and aqueduct-like structures. Individual modules are generally large but understandable; impossible scale comes from repetition, depth, vertical accumulation and radial continuation.
Masonry: large dressed blocks are a recurring signature; many may be torso-sized or larger. Avoid tiny uniform medieval brickwork.
Ornament: architectural, not illustrative. Use layered archivolts, recessed frames, engaged columns, clustered piers, abstract capitals, cornices, ribs, stepped moldings, blind arcades, deep niches and geometric bands. Think cathedral complexity executed in oversized antique masonry.
HARD CANON — no original iconography: no statues, humanoid carvings, animals, gargoyles, gods, saints, kings, faces, heraldry, banners, readable writing, cultural emblems or narrative murals. Empty niches are allowed.
The Tower is enclosed but internally porous.
Even intact regions can contain cathedral-scale voids, stacked galleries, arcades, bridges, shafts and channels visible across immense interior distances.
Aqueduct-like structures: universal architectural vocabulary. Humans call them aqueducts, but their original purpose is unknown. Some carry water; others are dry, broken, vertical or incomplete.
Amended D-299 Some of that water leaves the Tower: the river of the valley flows out of it (§8).
Ruin law: ORDER → DAMAGE → ACCIDENTAL ARCHITECTURE. Ruin creates ramps, ledges, crossings, openings and routes. Design ordered architecture first, then damage it.
Prefer structural impossibility over constant Escher geometry.