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A lounge armchair in the lineage of Le Corbusier's LC2 Grand Confort: a cube of upholstered cushions held in an external tubular frame. The reinterpretation keeps the strict cubic silhouette but strips the detailing down — fewer visible joints, tighter radii, a cleaner monolithic read — so it lands as simple and forward-looking rather than period-revival.

A single-seat powered massage lounge chair for the home, developed as a furniture object rather than an appliance. The brief is a graphite-toned, softly rounded volume that the sitter sinks into — shoulders, arms and calves all enclosed — so the chair reads as an upholstered lounge piece even with a massage mechanism inside the backrest.

This is a three-seater living room sofa that follows the furniture vocabulary of Mies van der Rohe—exposed chrome flatbar frames, a clear separation between the frame and the cushions, and leather surfaces divided by button tufting. With an overall width of 1900 mm, it features a backrest but no armrests, and its orientation is defined by X-shaped intersecting flatbar legs at both ends. While referencing the proportions and details of the Barcelona Chair/Daybed (1929), it is not a reproduction but a new design created using the same rules. The intended usage environment is a living room in an urban residence or a lounge/showroom waiting area. Since it is likely to be placed in a position visible from all sides, the back and the welds of the lower frame are finished, and the absence of armrests makes the X-shaped intersecting curves on the sides the sofa's main expression. The structure is a two-element composition consisting of independent cushions placed on an X-shaped frame made by bending and welding stainless steel flatbars.

Taking the LC2/LC3 Grand Confort (1928) by Le Corbusier, Pierre Jeanneret, and Charlotte Perriand as the prototype, this is a furniture project that redesigns the proportions, cross-sections, and assembly methods to suit modern residential spaces, while maintaining the structural principle of "containing cushions within an exposed frame." The scope of development is set to include a series of two- and three-seater sofas rather than single armchairs. Suitable locations include living rooms and small lounges in urban residences, as well as hotel and office lobbies. Instead of the large surface area presupposed by the original, the project aims for a volume that leaves ample space on both sides even when a single unit is placed in a living room approximately 3.6 meters wide; furthermore, the overall silhouette is scaled down and re-proportioned rather than replicating the original exactly. This "modern and simple reinterpretation" is interpreted by removing ornamentation rather than adding it.