terraledger / v3.2 — ready
Provenance,
natively on‑chain.
We acquire US real estate and original artwork, and issue the ownership interest in each as verifiable tokens on Tezos. A deed that used to take six weeks and four intermediaries to move now settles in about fifteen seconds — and so does a painting's chain of custody.
Latest issuance
Cascade House
KT1Cas…9rQx
Now minting
Cadastral
Ilse Verhoeven · KT1Cad…3vWn
01/The thesis
Land and art have the same problem. Both are worth what their record says they are.
Every county in America maintains a ledger of unique, exclusive, transferable claims on land. Every gallery maintains the same thing for a painting, in a folder. Both primitives are sound. The infrastructure — paper, plat books, an archive nobody can search — is what makes property the most illiquid major asset class on earth, and provenance the most expensive question in the art market.
A deed is already a token. So is a provenance record
County recorders have tracked exclusive, transferable, uniquely-identified claims on land for four hundred years. Galleries and auction houses have tracked exactly the same thing for a painting, in a folder. Both are non-fungible tokens maintained by hand. We are not inventing the primitive — we are moving it onto a ledger that settles in seconds instead of weeks.
Formal verification, because this is not a profile picture
A bug in a novelty-avatar contract costs an image. A bug in a contract holding title to a $4M building — or the sole record of who owns an artist's life work — costs the asset. Tezos contracts written in Michelson can be formally verified against a mathematical specification, the same discipline avionics and rail signalling use.
Governance without forks
Property is a thirty-year asset class and art is a three-hundred-year one. Neither can sit on a chain that might contentiously split in year four and leave two competing records of who owns what. Tezos amends itself through on-chain voting, so the ledger under our title and provenance records has one continuous history.
Energy cost that survives an ESG review
Institutional capital answers to mandates, and so do the museums and estates that lend to us. Tezos uses liquid proof-of-stake and settles a transaction for a small fraction of the energy a proof-of-work chain needs — which is what makes both tokenized property and a serious art programme defensible to a committee.
02/Property
Assets currently open for subscription
Each property sits in its own Delaware SPV. The token is the membership interest in that vehicle — which is what makes it enforceable in a courtroom as well as on a chain.
03/Editions
The same machinery, pointed at art
An artwork's value rests on an unbroken chain of custody, exactly as a building's does — and it is currently kept in gallery folders and the memory of people who will retire. Editions writes that record into the token, with authorship verified in the studio and a ten percent royalty enforced by the contract rather than requested in a terms page.
04/Games division
The same settlement layer, pointed at something more playful.
Property and art each teach us something slowly: how to make an escrow strangers will trust with real money, and how to make a token whose record still means something in fifty years. Games are where we prove that machinery in public, at speed, with much lower stakes and a much faster feedback loop — even when that means shipping on a chain other than our own.
Live on Saigon testnet
OnlineRock-Paper-Scissors
A commit–reveal ladder against the contract: it cannot see your move before it commits to its own. Win rounds to climb fourteen NFT tiers, and stop whenever the next coin flip stops being worth it.
- Network
- Ronin · Saigon testnet
- Contract
- 0xCa89…368d
- Fairness
- Commit–reveal
- Entry
- 0.1 RON per run
05/Careers
Three seats we cannot fill from the inside
Two of them are for designers, because the art programme has outgrown the two people running it. The third is for whoever wants to own our poker project outright. All three end in a paid evaluation, and we pay for it whether or not we make an offer.
NFT designers, for Editions and the games estate
A senior designer to art-direct the collections we release, and a generative artist to build the systems behind the ones that are computed rather than drawn. Eighteen collections have shipped without either — consistently, but by luck rather than by system.
An engineer to take our poker project and finish it
It is specified, funded and architecturally reviewed. What it does not have is an owner — our games squad is committed through Q4 to a settlement-layer migration that sits underneath every property and every edition we have issued. You would set the architecture, the schedule and the definition of done.