Ourroom: a brand for an app that settles the sofa fight before the sofa arrives

Ourroom is an iPhone app for couples and flatmates furnishing a shared place. Scan the room once, drop in the furniture you're eyeing, and both of you move it around, each with a named cursor. It checks what fits to the centimetre, and the pieces you both agreed on go into one basket, split between you.

The brief, in a founder's words: "Couples furnish a flat by arguing over screenshots in a group chat; our homepage has to show two people moving the same sofa in the same room, not one more AI render of a perfect living room."

The pictures only set the look. We rebuilt the world as real vectors: a furniture kit drawn in code from centimetres, so the sofa is the same 200 cm in the key art, the app, the posters and the tote.

The kit has 11 pieces, from the sofa and armchair to a lamp, a rug and a fern, each drawn white, coral, cobalt and ink. The key art is the kit's living room: Maya's sofa, Jonah's armchair and the walkway between them.

We generated 18 candidates in a chain, each grown from an earlier one, and put 14 on one sheet in the order they were made, at full size and at 64 pixels. Ryan narrowed it to 14 or 18. We kept 18, because it reads as a room, not a package.

We traced it to vector and then straightened it, because the generated edges wobbled at 512 pixels. It still reads at 16 pixels, and in coral or cobalt it can stand for each person. The film builds it from the app's own scan numbers, 4.20 by 3.60 by 2.50 metres.

Maya's sofa snaps to the wall, the walkway comes up 18 cm short, one nudge fixes it and both say yes. Around it the mark is built, a delivery moves on the Lock Screen, the App Store page scrolls, and the posters, the bus shelter, the tape and the tote take turns. Each swap is a dimension line dragged across the cell by Maya's or Jonah's cursor. It loops without a seam, cut for LinkedIn and X.

The first board scored 7.5 out of 10. We moved the two people to coral and cobalt and made agreement solid ink, and Ryan cleared that version to post.

Two people bring three doubts to a room planner: the fit, the money and the say. Each is answered on screen, by the product working.

A, Canvas: the room is the screen, and one sheet underneath decides. B, Cards: the room sits in a card, and the piece you lift breaks out of it. C, Plan: a measured top-down drawing, and you vote by swiping the list.

Ryan picked A: the room is the workspace and the decision sits one thumb away. B's lifted sofa and its walkway card moved into A, as the sheet that opens when a gap is too narrow. C was the most practical for measuring, but it lost the drawn room.

The app is set in SF Pro, as iOS apps ship it. Outside the app, on the posters, the App Store set, the tape and the tote, the type is Onest, set tight and bold, because its round bowls sit with the wordmark's o's.

Every interaction is written down with its spring and its haptic before it's animated, so the board and a real build move the same way.

The scan draws the walls as you walk and counts the room up to 4.20 by 3.60 metres. The invite is a link that works for 7 days. In the editor both cursors work at once. Add a piece and the list can filter to what fits the wall you're on. The basket holds what you both agreed on and splits it. Then the delivery lives on the Lock Screen and in a widget until the van arrives.

Your room, scanned in one walk. Move the sofa together, live. Know it fits before it arrives. Only buy what you both love. Split it 50/50, track it home. Each frame holds a real screen, one piece of the kit breaks out of it, and Jonah's armchair crosses the seam between the third and the fourth.

The first poster settles the sofa fight at 200 cm, on the sofa's own dimension line. The third fits its headline so the ink is exactly 200 cm wide at the plan's scale. The packing tape carries a true-scale centimetre ruler. The tote prints the armchair with both cursors and measures itself, 38 by 42 cm.

The posters and the artwork are drawn in code. The shelter, the tote and the boxes are generated photographs, with the artwork laid in to take their light.

Ryan made the key picks: the world, the logo and the editor direction. Generated pictures set the world's look and gave us the logo candidates and three photo plates. The rest is drawn in code: the key art, the furniture, the traced logo, all nine screens, the posters, the tape and tote artwork and the board. So every number on it is real, and it renders at any size.