Versions, kept additive.

Warm paper, graphite ink, drafting blue as the only accent. Rams-disciplined; an architect's tool that disappears into the work. Sentence-case headings, two radii, three weights.

Pushed harder into the Bauhaus inheritance. Pure white and ink, the primary triad (red / yellow / blue) bound to roles, lowercase display type after Bayer, sharp corners after Dessau, heavy black rules between sections.

The plane is a physical surface — a workshop table lit from upper-left. Components are products on it: pressed keys, paper sheets, cut slots, ceramic chips. Shadow is the language of state. One warm accent — the indicator light on a Braun radio. Rams' ten principles taken literally, not stylistically.

v3's plane theory pushed harder. Where v3 had objects resting on the plane, v4 has mechanisms that interact with it — slide toggles, rotary knobs, buttons that depress into the surface, segmented switches with LED-dot state, and slot keys that extrude in and out. Bauhaus + Rams, taken as a control-panel vocabulary.

Zumthor's Magic of the Real. The interface is a cast surface — stratified material, type engraved into stone, long warm shadows, a single tungsten light source. Components are carved into matter rather than placed on a plane. All nine of Zumthor's atmospheric qualities are honored across the showcase sections.

v4's mechanism vocabulary refined into a jeweller's instrument: hairline cells, brushed metal or matte black enamel, cobalt primary action, Leica-like tickmarks, and domino-pip data displays. The sliders and knobs stay alive, but the mass is gone. State is read in enamel inlay.

A preservation pass on v6: the same hairline grid, enamel inlays, domino pips, and precise motion, with the light theme simplified into a cleaner off-white field. The dial drops the watch chapter ring, hand, and pin in favor of a quiet radial progress readout.

v6.1's clean off-white surface and enamel palette, overlaid with soft physical controls inspired by the Rams screenshot set: animated pucks, pill toggles, console boards, lens buttons, and rocker plates. The softness is contained by v6 hairline rails and measured cells.

The synthesis of v4's mechanisms and v6's enamel discipline. Whiter than v3/v4, more physical than v6. Parts of the surface are honestly recessed as routs — UI grooves where toggles slide and faders ride. Enamel-color inlays mark state. Chamfered toggles introduce 45° angles when Bauhaus geometry is the right voice. No screws, no faux-aluminum — the screen is honestly the screen.

The synthesis of v6's plain field and v4's mechanism vocabulary, with a new conceptual move: the field is the object. Components live in pockets and extrude as pucks. A single warm-orange indicator dot, placed in the field next to the active control, says "this is on." Whiter than v7. Pillowy radii. No multi-color palette. No faux materials. The pocket-and-puck is the only construction.

The synthesis that lands: v4's physical-but-muted mechanism feel + v6's hairline linework (cut channels, tickmarks, domino pips) + v8's knob and rocker. The defining new move is the toggle — a hairline-outlined slot with a rolling white ball; enamel color fills the slot behind the ball as it rolls. Buttons are honest cuts in the field, not pucks on it. Color now follows v6.1's enamel palette.

v9 cleaned and expanded. Knob ticks no longer overlap the cap; rocker is properly inverted (active = depressed with color ring). Pips become pucks-in-cuts. Five new mechanisms — step counter, lever, tumbler, gauge, hold-pad — each its own mechanical idea, not a button variant. Plus three new primitives that unlock unlimited nesting depth without stacking cuts: stratum, crest, margin-rule — the five-level containment grammar.