Salinlahi is a cultural-preservation platform for PHINMA COC (Cagayan de Oro College) students in Cagayan de Oro, Philippines. Its purpose is to preserve Kagay-anon cultural identity among PHINMA COC college students by giving students a durable, browsable archive of Kagay-anon heritage material and by giving designated cultural custodians a focused workspace to gather, add, and maintain that material.
The product intent is drawn directly from the authoritative requirement: build a project called "Salinlahi" aimed at preserving Kagay-anon cultural identity among PHINMA COC college students, serving those students as its audience. Salinlahi is therefore a two-role system: students who browse and read the archive, and Cultural Content Contributors / Custodians who maintain it. The platform is delivered as a first-party web application with application-owned identity, so that a student's or contributor's work and the archive itself persist across visits.
The audience is PHINMA COC college students and the cultural contributors/custodians who serve them. The tone of the product is that of public cultural infrastructure — a library, a transit map, a museum catalogue — carrying heritage content with wayfinding clarity and quiet seriousness.
Salinlahi is a web application with a public entry surface, self-service identity surfaces, a student-facing content library, and a contributor-facing content editor. It is backed by a server-side application that owns the durable archive of Kagay-anon cultural content, the identity records of its users, and the role distinction between students and contributors/custodians.
Actors
Accepted current behavior
Ownership and delivery boundary
Salinlahi is delivered as a first-party application with custom UI and application-owned identity. The Landing, Sign Up, and Login surfaces are anonymously reachable; the Content Library and Content Editor are protected and require an established identity. The archive content, the identity records, and the role distinction are owned and persisted by the Salinlahi application itself — no external provider owns the archive or the identity.
Narrow exclusions
This document does not introduce adjacent capabilities that the source did not accept: no social feed, no messaging, no event management, no e-commerce, no external content-provider integration, and no account-management surface beyond the self-service enrollment and returning verification needed to make the accepted journeys executable. No future-horizon requirements were stated by the user; nothing is deferred.
Salinlahi is a preservation platform, not a general-purpose content site. Its defining commitment is that Kagay-anon cultural identity material survives in a durable, organized archive that PHINMA COC students can actually reach, and that a designated custodian role keeps that archive accurate and growing.
Delivery is first-party and web-based. The public entry (Landing) is reachable without an identity and exists to state what Salinlahi is, who it serves, and how to enter. Because the archive is durable and role-differentiated, Salinlahi owns its own identity: a new actor establishes an identity through self-service enrollment (Sign Up), and a returning actor verifies through Login. The Content Library is the student's working surface for reading the archive; the Content Editor is the custodian's working surface for maintaining it. These two protected surfaces are separated because their working context, authoritative state, lifecycle, and completion outcomes differ: a student's outcome is having read and understood heritage material, while a custodian's outcome is having published or updated an archive entry.
Everything in this document is current. No future-horizon requirements were stated, and no capability is deferred.
Not applicable. No reference directive in this request declares a content_source, so no source content inventory is produced.
FR-1 — Public introduction of Salinlahi As a visitor (College Student or Cultural Content Contributor / Custodian), I should see a public Landing surface that introduces Salinlahi, its PHINMA COC student audience, and its purpose of preserving Kagay-anon cultural identity, so that I understand what the project is before any protected use.
FR-2 — Self-service enrollment As a College Student or Cultural Content Contributor / Custodian beginning to use Salinlahi, I should be able to enroll myself through Sign Up, so that I can establish an identity and reach the archive.
FR-3 — Returning verification As a returning College Student or Cultural Content Contributor / Custodian, I should be able to verify my identity through Login, so that I can regain access to the archive on subsequent visits.
FR-4 — Browse the Kagay-anon cultural archive As a College Student (Phinma COC), I should be able to browse the Content Library as a ruled index of Kagay-anon cultural identity entries, so that I can find heritage material relevant to my cultural identity.
FR-5 — Read a Kagay-anon cultural entry As a College Student (Phinma COC), I should be able to open an archive entry and read its full content, so that I engage with Kagay-anon cultural identity material and strengthen my sense of local cultural identity.
FR-6 — Add durable Kagay-anon cultural content As a Cultural Content Contributor / Custodian, I should be able to create a new archive entry in the Content Editor, so that Kagay-anon cultural heritage material is gathered and made available to students.
FR-7 — Maintain existing Kagay-anon cultural content As a Cultural Content Contributor / Custodian, I should be able to edit an existing archive entry in the Content Editor, so that the archive stays accurate and current for the student audience.
FR-8 — Publish an entry to the student audience As a Cultural Content Contributor / Custodian, I should be able to publish an entry so that it becomes visible in the Content Library, so that the material I gathered actually reaches PHINMA COC students.
FR-9 — Role-differentiated access As the Salinlahi system, I should distinguish Cultural Content Contributor / Custodian maintenance access from student viewing access, so that only authorized contributors can add and maintain archive content while students can browse and read it.
Product context. A PHINMA COC college student in Cagayan de Oro who is studying away from, or at a distance from, the everyday practice of Kagay-anon culture and wants to stay connected to it. Salinlahi is the archive they return to when they want to read about the heritage of the place they are studying in.
Primary goal. To reach a stronger sense of local Kagay-anon cultural identity by engaging with cultural content and identity-related material in the product.
Distinct accepted responsibilities. The student browses the Content Library and reads archive entries. The student does not add or maintain archive content — that is the custodian's responsibility, and the student's access does not include the Content Editor.
Relevant inputs and decisions. The student decides what to read next by scanning the index's categories, titles, contributors, and dates. The student's inputs are their browsing choices and their selection of an entry to open.
Interactions with other accepted participants. The student is the audience for the Cultural Content Contributor / Custodian's work: the entries the student reads are the entries the custodian gathered, added, and published. The student sees the custodian's attribution on each entry.
Observable success. The student has found and read Kagay-anon cultural identity material in the Content Library and can return to the archive on later visits with their identity intact.
Product context. A person responsible for gathering and sharing Kagay-anon cultural heritage material so that PHINMA COC students can access it. They treat the archive as something that must be accurate, attributed, and durable — not as a personal publishing outlet.
Primary goal. To add and maintain cultural content and see it reach the student audience.
Distinct accepted responsibilities. The contributor creates new archive entries, edits existing ones, saves drafts, and publishes entries to the Content Library. The contributor's access is distinguished from the student's: the contributor reaches the Content Editor, which students cannot.
Relevant inputs and decisions. The contributor supplies entry titles, categories, and body content, and decides when an entry is ready to move from draft to published. The contributor decides what to revise when existing archive content needs correction.
Interactions with other accepted participants. The contributor serves the College Student audience: publishing an entry is what makes it visible to students, and the contributor's attribution appears on the entry the student reads.
Observable success. The contributor's entry is published and appears in the Content Library for students, and the contributor can return to the Content Editor to maintain it.
The creative direction is authoritative for this section. The muse is Erik Spiekermann, and the headline idea is typographic infrastructure for a living heritage — Kagay-anon culture as a wayfinding system. Salinlahi should read as public infrastructure for identity: closer to a library, a transit map, or a museum catalogue than to a SaaS dashboard. Information-heavy, role-differentiated, warm inside order.
| Role | Hex | Use |
|---|---|---|
| Background (paper) | #F2EDE4 | Page ground |
| Surface | #FBF8F2 | Content tiles and forms |
| Text (ink) | #1C1A17 | All body and heading text |
| Primary (signal red) | #B4372A | Active role/line indicator, primary CTA, section rules — the "main line" |
| Accent (amber) | #D89A1E | Contributor/custodian states, tags, hover underlines |
| Muted | #6E675D | Metadata, timestamps, captions, disabled states |
Proportion: ~70% paper, ~20% ink, ~7% red, ~3% amber. Two signal colours maximum on screen at once; never introduce a third.
Contrast rules: ink on paper is ~15:1. Red on paper is ~5.4:1 and is used at 16px+ or as a 3px rule, never for small body text. Amber is never used for text on paper — only as a rule, a tag fill with ink text, or an icon fill.
clamp(40px, 9vw, 96px); section heading clamp(28px, 4.5vw, 44px); card title 20px; body 16px with 1.6 line-height; metadata 12px uppercase tracked.Rectilinear and honest. 2px radius on inputs and buttons — enough to feel handled, not enough to look soft. 1px hairline rules in #1C1A17 at 12% opacity as the primary structural device; 3px solid signal-colour rules mark active lines and section starts. No shadows except a single 1px bottom border on sticky headers. No blobs, no pills, no rounded cards with soft offset shadows. Circular elements are reserved for one thing only: the role indicator dot and small step markers, echoing transit stops.
A 12-column grid with a visible left rail at 1280px: a 64px-wide vertical strip carrying a red line, numbered section stops, and rotated uppercase micro-labels — the page literally reads as a transit line you scroll along. Content occupies columns 3–11 for reading measure, columns 1–12 for full-bleed rules and image bands. Every section begins with a horizontal 3px signal rule spanning the full grid, then a numbered label pair (number left, label right, aligned to the grid) — a wayfinding header, not a marketing header. The Content Library is a tabular, colour-coded index: each heritage entry is a ruled row with an amber or red line-chip on the left, title, category, contributor, and date in aligned columns; on mobile those rows reflow to stacked blocks with the chip as a top border. The Content Editor is a two-pane split: form fields left (aligned label/value pairs, labels uppercase small), live preview right, with a persistent status bar at the bottom showing draft/published as a coloured line segment.
Documentary and diagrammatic, never decorative. Photography: high-contrast, warm-toned documentary photographs of Cagayan de Oro — markets, fiesta, weaving, river, campus life — always cropped hard to the grid, duotone-treated in ink + paper with the signal colour used as a single overlay band on one edge, and captioned with a numbered figure label. Plus one pictogram set: simple 2px-stroke line icons for archive categories (textile, ritual, language, music, place) drawn on the same 24px grid as the type, so image and type feel cut from the same system. No stock people, no 3D renders, no gradient blobs.
The public entry is a full-viewport wayfinding poster, not a centred SaaS hero.
clamp(56px, 14vw, 176px), flush left, with the word KAGAY-ANON directly beneath it in the same size but rendered as an outlined/knockout treatment — so the two words stack as a solid line and a hollow line, the archive's name as a two-line transit sign.This concept recomposes only accepted content, states, and controls: the project name, the audience, the custodian role, the access path, and the two entry actions.
Interaction Model: Static Motion Tempo: restrained Hero Dimensionality: flat
prefers-reduced-motion, the rail line is static and full-height, stops are shown filled, and all entrances render at final state. No scroll-linked draw, no rule wipe, no crossfade.durable_state_required: true).app_owned_identity: true).font-size: clamp(...) with its mobile size) to fit, with no other element covering any part of them. Imagery, decoration, and motion may be cropped, bled off an edge, rotated, overlapped, or cut as the creative direction asks, as long as they cover no readable text or control. Provenance: explicit (creative direction).prefers-reduced-motion, the rail line is static and full-height, stops are shown filled, and all entrances render at final state. Provenance: explicit (creative direction).#B4372A and amber #D89A1E only. Provenance: explicit (creative direction).custom_ui: true, app_owned_identity: true).#B4372A (student/main line) and amber #D89A1E (contributor/custodian line).No completed page designs yet.
Completed design pages will appear here when they are ready to preview.
No completed page designs yet.
Completed design pages will appear here when they are ready to preview.
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