Paul

A six-storey mixed-use cultural centre targeting 12000 m² above ground, combining a fitness centre, a priority 600-seat auditorium, a separate flexible performance hall and galleries. It serves audiences, performers, exhibition visitors and fitness users.

A single family house of about 200 m² above grade for a household of two to four, on a flat 20 × 20 m suburban lot whose south short edge meets a 6 m residential road. Two storeys at 3000 mm floor-to-floor sit on one basement level.

A single-family house of about 200 m² gross floor area above ground, two storeys at 3 m floor-to-floor plus one full basement, built as exposed cast-in-place concrete in the manner of Peter Zumthor: one monolithic volume, few and deliberate openings, material left as struck.

A single family house of about 205 m² above ground on a 324 m² square lot (18 m × 18 m) with a 6 m road on the south edge. Two storeys at 3.0 m floor-to-floor sit over one full basement. The architectural language follows Peter Zumthor: one quiet volume in exposed cast in-place concrete, few and deliberately placed openings, and the whole spatial event turned inward to a closed courtyard.

A single-room specialty coffee bar of about 100 m2, fitted out inside an existing 12,000 x 8,400 shell with a 3,600 ceiling. The character is the Blue Bottle template: one long service bar in pale white oak, a quiet white plaster envelope, polished concrete underfoot, and no visual noise beyond the machines and the pastry case. The room works as a one-directional service line.

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-family house in the manner of Peter Zumthor: one monolithic in-situ exposed concrete volume, 11.5 × 11.5 m in outline, with a 5.0 × 5.0 m courtyard subtracted through its centre. Two above-ground storeys at 3000 mm floor-to-floor hold about 200 m² between them, over a partial basement of about 70 m² for service, storage and a utility/spa room.

A ten-storey art museum on a compact urban infill site of roughly 1,000 m2, designed in the sculptural idiom associated with Frank Gehry: an orthogonal, efficiently stacked structural core and floor plates wrapped by a warped, metal-clad ribbon skin held 900 mm off the primary frame.

A two-place, battery-electric high-performance ground vehicle for Mars surface operations, styled and proportioned as a sports car rather than as a utilitarian rover. The configuration is now fixed: an open cockpit with no pressure vessel, two suited crew side by side, four wheels on long-travel independent suspension, and a compact envelope of about 3600 x 2200 x 1500 mm.

A public art museum of 1,000 pyeong (3,306 m²) gross floor area, designed in the conceptual Building Workshop: a low, horizontal volume; a lightweight roof that filters north daylight into the main galleries; a legible, finely detailed steel frame with glass, stone and timber infill; and a transparent ground plane the public can cross without a ticket.

A contemporary art museum of about 1,000 pyeong (3,306 m² total gross floor area, basement included) in the formal language associated with Daniel Libeskind: a folded, non-orthogonal zigzag bar cut across its full depth by a single straight void, sharply angled wall planes, and windows expressed as thin diagonal incisions rather than repeating openings.

A contemporary art museum of about 3,300 m² gross on an approximately 1,000-pyeong (3,306 m²) site, designed in the vocabulary associated with Tadao Ando: fair-faced cast-in-place concrete, a long processional approach, water as a datum surface, and galleries lit only from concealed top-light slots rather than windows. The scheme is half-buried.

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.

A two-story detached single-family house designed in the spirit of Jean Nouvel: a sharply defined volume whose character comes from a controlled skin — deep reveals, a layered perforated screen, dark metal surfaces — rather than from decorative form. The house is a permanent residence for a single family on a suburban or peri-urban lot.

A 300 ml refillable body wash dispenser for the shower shelf or bathroom counter, styled after a classic Aladdin oil lamp — a low bulbous body about 110 mm across, a curved spout rising from one side, a closed ring handle on the other, and a flared foot.

This is a detached house referencing the architectural vocabulary of Peter Zumthor. Its core elements are a materiality-centered design that pushes a limited number of materials to their limits, light orchestrated by minimal openings, and a spatial atmosphere perceived by the body. It is a single-story house with a gross floor area of ​​approximately 165 m², designed for the permanent residence of a family of three to four. A U-shaped volume surrounds a 6,000 × 6,000 mm courtyard, creating a configuration that is closed to the exterior and open only to the courtyard and the main viewing surface. Since the design theme is the way natural elements (light, wind, sound, and temperature) enter the interior, it assumes a suburban site where nature remains in the surroundings. The structure and envelope are unified by a single materiality of timber frame and heat-treated timber cladding, while the interior is completed through the precision of joints and the deep revealing walls resulting from the total exterior wall thickness of 350 mm.

For this project, drafti was asked to emulate the design concept of Sir Norman Foster. This is a three-story detached house that translates the high-tech architectural vocabulary associated with Norman Foster—such as orderly structural grids, exposed steel framing, expansive glass surfaces, lightweight metal finishes, and integrated cores with open floor plans—into a residential scale. Designed as a private residence for a family of four, the project has a total floor area of ​​approximately 300 m² (roughly 100–120 m² per floor). The building mass is configured in a square (□-shaped) layout that encloses a central courtyard. The exterior facing the street and neighboring properties is enclosed with metal panels and minimal openings, while the side facing the inner courtyard features full-height glazing; this arrangement ensures both privacy and abundant natural light within a densely built-up residential area. The program is vertically zoned: the ground floor is kept open, accommodating only a pilotis parking area, the entrance, and a multi-purpose room; the second floor serves as the main living area, containing the living room, kitchen, and dining room; and the third floor constitutes the private zone, featuring three bedrooms and an outdoor terrace. The site is assumed to be a regular-shaped plot bordering a 6-meter-wide road to the south, subject to "due-north" sunlight setback regulations.

This is a sci-fi concept weapon based on the iconic silhouette of the AK-47, integrating a sonic (highly directional) emitter and a laser (visual effect) emitter. It is a non-firing prop/display model—incapable of actually firing projectiles—that electronically simulates lighting, sound, and vibration effects. Designed as a 1:1 scale prop, it retains the original proportions (880mm total length, 415mm barrel) and key visual features such as the slanted gas block and curved magazine silhouette; the muzzle features a dual-barrel configuration with an upper laser (Ø20mm) and a lower sonic horn (Ø90mm). The magazine retains its exterior appearance while the interior is replaced with a battery cartridge housing three 18650 cells in series. Target users include creators of video and game promotional props, cosplayers, and exhibition planners.

This project involves the design of a detached house based on a square floor plan with sides measuring 9 meters (9,000 mm). The square shape is frequently used as a prototype for small homes because it offers an efficient ratio of floor area to building envelope; furthermore, dividing the plan into a 3×3 grid of 3,000 mm modules allows for the simultaneous organization of structural, mechanical, and spatial layouts. The building is designed as a two-story structure. It employs a vertical zoning strategy, separating the communal areas—such as the entrance, living room, kitchen, and dining area—on the first floor from the private areas—comprising three bedrooms (one master bedroom and two children's rooms)—on the second floor, intended for the permanent residence of a family of three to four. The central cell of the 3×3 grid (3,000×3,000 mm) serves as a core housing the staircase and restrooms, while the remaining eight cells are utilized as living spaces. Parking is accommodated by a single outdoor space in the yard, allowing the 9×9 meter building mass to remain intact.

This house project began with a simple prompt: "Design a 9x9 detached house." It also serves as an example to demonstrate the ease of using Drafti.xyz. Using this tool, the project successfully generated everything from floor plans and 3D models to photorealistic renderings. It is that simple. The details are as follows: It is a small detached house based on a square floor plan with 9-meter sides (81 m² per floor). The square shape offers an efficient ratio of floor area to exterior wall length and a uniform structural span, allowing for a simple design—whether in timber or reinforced concrete—based on a 3,000mm 3x3 grid. The layout consists of two above-ground stories plus an attic under a pitched roof, with a total floor area of ​​approximately 200 m² (including the attic). Designed for a family of three or four (a couple and two children), the first floor features an open communal area comprising the entrance, living room, kitchen, and dining room; the second floor houses three bedrooms and a bathroom; and the attic serves as a space for storage and work. The central 3x3m module of the floor plan functions as a core integrating the staircase and storage, dividing the surrounding space into four distinct zones. This core minimizes circulation paths while simultaneously acting as the structural hub that supports the 9-meter span from the center. The site is assumed to be located in a low-rise suburban residential area adjacent to a road on the south side.

This is an urban complex cultural facility with a gross floor area of ​​approximately 25,000 m² that houses a fitness center, a main auditorium, a performance hall, and an exhibition space within a single building. The core condition of this project is the collision of large spaces with completely different characteristics (a column-free 1,200-seat performance hall, a fitness center with low ceilings and repetitive layouts, and a flexible exhibition space) within a single mass. The mass configuration was finalized based on the style of the Seattle Central Library. Program-specific volumes are stacked floor by floor but offset by 6,000 mm in the plan, allowing each program to be read directly from the outside. The cantilevered undersides created by this offset, the outdoor terraces, and the voids between the volumes are utilized for public spaces and inclined circulation (ramps and escalators). The structure consists of five floors above ground and two floors underground, with the performance hall and parking, which are sensitive to noise and vibration, located underground.

This is a two-story detached house that follows the architectural language of Renzo Piano. It features a lightweight steel frame mounted on a 1,200mm modular grid, treating the roof as a "light-filtering machine" where the structure, fixtures, and shading are fully exposed rather than concealed. Instead of heavy walls, slender columns, large glass surfaces, and deep eaves blur the boundary between the interior and exterior. Designed for a family of three to four, the gross floor area is approximately 180㎡. The first floor serves as a common level for the living room, dining room, and kitchen; its south-facing facade is floor-to-ceiling glass and seamlessly connects to a 3,000mm deep deck. The second floor is a private level housing three bedrooms, with a reduced building footprint compared to the first floor to leave a spacious yard. The roof is a sawtooth-shaped skylight featuring repeating north-facing toplights.

It is a capsule-type passenger vehicle that travels at speeds of approximately 1,000 km/h inside a transparent tube installed on the ground (in a low-pressure state of about 100 Pa). Based on the Hyperloop concept, it maintains a near-vacuum inside the tube to eliminate air resistance and operates non-contactfully using linear synchronous motor propulsion and magnetic levitation. The design focus of this stage is not the tube itself, but rather the exterior shape and key dimensions of the capsule (pod) body running inside it. The scale has been confirmed as a medium-sized capsule with a capacity of 28 passengers. It is a single, complete car type with an overall length of 30,000 mm and a maximum outer diameter of 2,800 mm, equipped with both a nose and a tail to operate at high frequency in small units without connecting train sets. The passenger compartment is configured with seven rows in a 2+2 arrangement, and users are general passengers intending to travel between urban areas of 300 to 600 km within 30 minutes. Boarding takes place through airtight gates within the station. The design language is a smooth metal surface with minimized seams.

This project applies Daniel Libeskind's sculptural language (acute diagonal cuts, crystal-like fragmented masses, and ruptured volumes soaring from the ground) to a supertall tower. The plan was finalized based on a scale of approximately 350 meters with 75 floors above ground, and a site area of ​​approximately 12,000 m² (a 100 m x 120 m rectangle). The massing strategy is a wedge shape created by cutting a single tower two to three times with diagonal planes; this approach dramatically angles the silhouette while maintaining structural and rental efficiency. The building serves a mixed function. The lower floors consist of a commercial and public lobby open to the city, the middle floors are office spaces designed for rental efficiency, the upper floors house a hotel and residences, and the top floor features an observation deck and lounge. The two points where the functions change coincide with the points where the diagonal cuts occur, ensuring that the form and program share the same logic.

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.

We are designing two types of consumer packaging for a domestic strawberry brand: a single-layer box with a transparent top window for 500g of fresh strawberries (20 medium-sized berries), and a stand-up pouch for 500g of bulk frozen strawberries. While both packages share the same brand identity, their core functions differ: the fresh strawberry box is designed to showcase the fruit while preventing crushing, whereas the pouch is designed for resealability and upright display. The primary users are households receiving strawberries via early-morning delivery or direct-from-farm online services, as well as premium food stores that display the products on shelves. Distribution environments involve 0–5°C refrigeration for fresh strawberries and -18°C freezing for pouches; the packaging must withstand both drops and stacking loads during standalone parcel delivery, even under high-humidity conditions. Sales channels are differentiated by product type, with fresh strawberries sold seasonally and frozen pouches sold year-round.

This is a two-story detached house with a square floor plan of 9,000 mm on each side. It references the vocabulary seen in the residential works of Ryue Nishizawa and SANAA (Moriyama House, House A, Garden & House)—extremely thin structures, a single white tone, openings where the distinction between walls and windows disappears, and floor plans that juxtapose rooms without hierarchy. The users are a family of four who require three bedrooms and one shared living room. The site is an urban residential plot of approximately 180 m², planned with a building area of ​​81 m² (building coverage ratio 45%) and a gross floor area of ​​162 m² (floor area ratio 90%). Since the square exterior already determines the form, the focus of the design is on how to divide the rooms into cells and where to leave empty within the 81 m² per floor, and how to allow light and views to pass through the spaces.

This is a small, tower-type observation pavilion standing 11 meters tall. The core challenge is to compress Frank Gehry-style deconstructivist forms—twisted masses deviating from orthogonal grids, curved metal facades, and plate-like volumes offset from floor to floor—into a very small scale of 11 meters. Its function has been confirmed as an observation pavilion from which one ascends to look down upon the surroundings. Each floor has a footprint of approximately 6m × 6m (36㎡); the 11-meter structure is divided into three levels, utilizing a floor height of about 3,400mm, with an outdoor viewing deck located on the top floor. The structure features a slender tower proportion with a width-to-height ratio of approximately 1:1.8; users are designed to stay briefly in small numbers, and vertical circulation occupies a significant portion of the area on each floor. The design method has been determined to be a stacked offset form.

This project involves the design of a detached house in the Yangsu-ri area of ​​Yangpyeong, Gyeonggi-do, situated on a site where one side faces the Bukhan River while the others are surrounded by mountains. It is a hybrid residence that integrates a main living area for the family with a dedicated guest floor—comprising the entire second level—designed for short-term rentals such as Airbnb. The total site area is approximately 3,305 m² (1,000 pyeong), with the residential zone—encompassing the house and its associated courtyard—occupying about 991.7 m² (300 pyeong). The building features a footprint of 330 m² (100 pyeong) and a total above-ground floor area of ​​approximately 1,320 m² (400 pyeong), spanning one basement level and four stories above ground. The layout clearly delineates the function of each floor: the first floor serves as a communal area featuring a dining room, kitchen, and lobby-style living room; the second floor houses four guest rooms; the third floor contains the master bedroom and children's rooms; and the fourth floor accommodates a study, office, and fitness area.

This is a plan for a medium-sized contemporary art museum applying the sculptural language of the Zaha Hadid style (continuous curved surfaces, streamlined masses, cantilevers lifted from the ground, and spiral ramps and voids penetrating the interior). The basic structure consists of three floors above ground and one basement level, housing permanent and temporary exhibitions, educational facilities, and a café/museum shop. Primary users include general visitors, school groups, and curators and artists handling large-scale installations. The viewing circulation is designed as a single loop starting from the lobby atrium, following a ramp to the upper floors, and then descending, allowing visitors to circulate through all floors without returning. The site is assumed to be a nearly regular plot facing the road; an entrance plaza is placed at the front, and the building mass is set back to utilize the area beneath the cantilever as an outdoor shaded space. Mass dimensions will be readjusted once site measurement data is secured.

This project involves the construction of a new Apple flagship retail store on a designated site in Seongsu-dong, Seongdong-gu, Seoul. The site is a small, regularly shaped plot measuring 10m by 20m (200㎡), and the building is planned as a two-story structure. Consequently, the concept shifts away from the "Town Square-style large flagship" model toward a "compact urban flagship" (or compact store) type that aligns with the scale of the Seongsu-dong alleyways. The primary users include visitors coming to experience and purchase products, participants in "Today at Apple" sessions, and customers with repair appointments; given the store's small size, the permanent staff is estimated at 15 to 25 people. As the area attracts significant weekend foot traffic and visitors drawn by photography, the 10-meter-wide front facade effectively serves as the building's urban face.

This is a plan for a small three-story detached house situated on a narrow, elongated virtual site measuring 5,000mm x 15,000mm. It references the closed street facades, courtyards drawn into the interior, and compositions where the concrete surface itself serves as the finish seen in Tadao Ando's works. Since the project is based on a virtual site, statutory restrictions such as building coverage ratio, floor area ratio, and sunlight angles are not applied, and the building's exterior is aligned with the site boundary. The exterior walls are 300mm thick exposed concrete, with an interior net width of 4,400mm and an interior net length of 14,400mm. The floor height is standardized at 3,200mm for each level, resulting in a total height of 9,600mm for the three floors (excluding parapets). A 3,000mm x 2,000mm courtyard is placed in the center of the longer side (7,500mm from the center of the entrance boundary) and planted with trees.

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.

This is a cafe interior project aiming for a minimalist, specialty coffee bar in the style of Blue Bottle. The basic tone is established through white walls, exposed structures, minimal signage, and the way the physical properties of materials such as solid wood, stainless steel, and concrete are revealed. The target space is a single cell within a commercial building, a deep and high single volume measuring 10m wide × 20m deep (approx. 200㎡) with a ceiling height of 4,500mm. The absence of columns and beams minimizes constraints on the floor plan, and the water supply is installed along the innermost wall. The zoning is distributed starting from the rear wall in the following order: ① Staff room and storage (upper mezzanine storage) → ② Staff passageway separation → ③ U-shaped counter including the roastery counter and preparation area → ④ Waiting area in front of the bar → ⑤ Seating area → ⑥ Front glass facade and main entrance.

This is a concept design for a complex cultural facility featuring an asymmetrical mass, referencing the vocabulary of Frank Gehry. As a virtual project without an actual site, it assumes a 300-pyeong (991.7㎡) rectangular plot with a 6:4 aspect ratio and plans a vertically stacked museum consisting of one basement level and ten floors above ground. The above-ground section features a standard floor height of 3,500mm; the building area of ​​the first floor is 80% of the site area (approximately 793.4㎡), and the outer perimeter of the mass plan is approximately 34,500 × 23,000mm. The height of the above-ground structure is 35,000mm, and with the exterior offset applied to the roof surface as well, the maximum height reaches 39,000mm. The programs for each floor have been finalized.

This project involves designing the exterior form of a six-person family home to be installed on the surface of Mars. Rather than focusing on interior layouts and facilities, priority is given to outwardly visible elements such as the shell (semi-major axis ellipsoid dome shell), four airlocks, vehicle docking ports, and a semi-buried exterior resulting from regolith backfill. The users are a six-person family in the early stages of Martian settlement, and the required interior floor area for a single module is 90 m². Since there is virtually no atmospheric pressure and the structure is constantly exposed to radiation and dust storms, the shell must function as a pressure-resistant shell prioritizing internal pressure over aesthetics, and the dome shape acts as a tension structure to displace internal air pressure. The designer delegated the ellipsoid major-to-minor axis ratio, adopting 1.4:1.

This project is a bipedal humanoid robot designed for use in a home environment. The exterior is constructed from stainless steel sheet metal, aiming for a clean metallic finish that blends black with gray. The primary users are general household residents, and the robot performs indoor and outdoor support tasks, such as childcare assistance, dog walking, and security, with a focus on acting as a housekeeper. The total height has been confirmed at 1650mm, the shoulder width at less than 350mm, the empty weight at 50kg, the maximum handling load at 30kg, and the maximum walking speed at 10km/h. A Type-C charging port is located on the chest, and while cameras and sensors are concentrated on the face, the equipment is concealed by a front glass cover (smoke/mirror coating) so that it is not exposed externally. Each hand features a five-finger structure, and the joint degrees of freedom are targeted to be higher than those of existing commercial humanoids such as Optimus and Atlas.

This is a concept for a two-seater high-performance sports vehicle capable of driving in the Martian surface environment. The goal is to maintain the design language of mid-engine sports cars for Earth (low overall height, wide track, and long rear cabin volume) while incorporating an electric drivetrain and airtight structure that can actually function in the low-pressure, low-temperature, and fine-dust environment of Mars. The seating configuration has been confirmed as a two-seater airtight pressurized cabin. Therefore, the canopy or door openings, airtight seals, airlocks, or docking interfaces become key constraints on the shape. The primary users are personnel stationed at the Mars base and operators for demonstration and tourism purposes, and the operating environment consists of flat regolith and gentle slopes near the base. Since the body panels have been confirmed to be manufactured using carbon fiber reinforced polymer (CFRP), the minimum radius of curvature, lamination thickness, split lines, and demolding direction govern the shape rules of the panels.

This is an Apple Store-style retail space opening in Seongsu-dong, Seoul. An experience-oriented sales space where customers can touch and compare products coexists with a presentation space that gathers people to show demos within a single volume. Based on a rectangular site with a 6:4 ratio and a land area of ​​approximately 100 pyeong (330 m²), it features an open volume with two stories above ground and a ceiling height of 5,000 mm. Visitors first view the entire interior through floor-to-ceiling glass and enter through a central glass door with an effective width of 2,500 mm and an effective height of 2,000 mm. On the first floor, four large display stands measuring 2,000 × 5,000 mm with a height of 900 mm are arranged, while a 3,000 × 1,500 mm stage and a large screen occupy an entire wall for product demos and sessions. A spiral staircase with an outer diameter of 3,000 mm in the center connects to the second floor, and a checkout counter is designed to seamlessly connect to the center of the lower part of the staircase.