Every space is drawn as a card: white, raised, with a plate at the top. A space with no picture gets a placeholder plate at the same 4:3 crop, so every card has the same shape and reads as something you can tap, and every card in a row starts with a plate of the same height, which is what lets every row in turn 4 line up. The plate is grey #EDEEF0 with a 20-unit grid at 0.6 stroke and a house drawing at 2.6 stroke, both in #B9BDC3, the grid at 55%. It keeps the landing plate's grid without its blue, which took over a day-one board where most spaces have no picture.
On a day-one board the placeholders stay quiet and the spaces that have a picture still stand out.
The same plate at three columns. The grid is faint enough that the pictures still set the board's rhythm.
A hand-built mock of the rule proposed for RoomCard. Names and captions wrap to two lines, then end in an ellipsis. No height is reserved. A row is as tall as its tallest card, every card in the row stretches to match, and each card's content is pinned to the top, so any spare space collects at the foot of the shorter cards. The names are deliberately long here: four wrap to two lines and two run past two lines, including one set whose name is its members' joined names.
At 165px most names above one word wrap, so the rows vary in height. Every card starts with a 4:3 plate, a picture or the placeholder, so the plates line up across a row and any spare height collects at the foot of the shorter cards.
The same spaces. At 256px most names fit on one line, so fewer rows grow, and only the longest names reach the ellipsis. The rule does not change between widths. Only how often it applies does. Spaces without a picture carry the placeholder plate from turn 6, so no row mixes a picture with a tall blank outline.
Sets are drawn as in 1b: a room-sized card with a second edge behind it. The one card that gets more room is the space holding the next decision in the order. It takes the whole row on the phone and two columns on the desk, and its caption names the decision. Here that decision is Kitchen Island Design, so the raised card is itself a set, and it keeps its second edge. Raising a card only changes its size, never what a tap does: a raised set opens the set's sheet like any set, and a raised single space opens that space, where the decision leads the screen. The filters follow one rule: a set stays whole when all its members land in the same run, and splits when they do not. A split member says which set it belongs to. The same rule covers a set whose spaces are on different floors.
The kitchen and pantry lead the ground floor at full width because the island is next. The suite stays room-sized in Upstairs. When the island is settled, the raise moves to whichever space holds the next decision.
Kitchen and pantry are both waiting on you, so they stay one card. The suite's three spaces land in three different runs, so the set splits, and each member's caption starts with the set's name. The runs still count 16 spaces. The raise stays on the next decision's space in every grouping.
The raised card spans two columns with its plate cropped wide (8:3), so it ends level with the rooms beside it. Every other set, and every room, takes one cell.
Two sets of linked spaces in the Demo House: the primary suite (Bedroom 1, Bathroom 1, Closet 1) and the kitchen and pantry. Wherever the house lists its spaces — the binder's board and the landing's "Walk the house" — a set is drawn once instead of once per member. The members stay individually reachable from any member's space screen, through its linked-spaces run (Linked Spaces 1a). Every run's count still counts spaces, and the set's card says how many it holds, so the numbers agree with what is on screen.
The set keeps a room's size, so the grid stays even and the suite does not outrank the rooms beside it. One offset hairline edge behind the card says there is more than one thing here, and the caption says how many. A tap opens a routing sheet listing the members as chevron rows, so the reader picks a space without first landing in the wrong one. The sheet has no primary action: its job is to send the reader somewhere.
Three spaces, linked since 1 March. Tile and paint are answered once for all three.