How it works
Say what you want in a sentence and it builds the whole thing — writes the prompts, wires the canvas, prices it, renders it in order, and lays it out as a slide. Your building stays exactly your building. Everything around it is yours to move.
01 — The lock
Ask a general model to restyle your pavilion and it will straighten a curve, add a storey, re-count the fins. Beautiful, convincing, and not your project. Here the geometry is treated as a fixed cage — named feature by named feature, with the prohibitions spelled out — and only the world around it moves.
02 — Get the highlights
References, prompts and renders are nodes you wire together. Change something upstream and everything downstream knows. Group it, present it, undo it.
Ask for a set and it writes the whole essay — context, hero, material study, a corridor, a junction, dusk. Shot grammar taken from how published projects are actually photographed.1
Describe a slide and it composes four coordinated images with a title and a written concept, laid out inside A3 or 16:9. Present full screen from the canvas.
Every request is inspectable — the exact prompt, every attached image, model and resolution. No black box between your intent and the render.
03 — Take a closer look
04 — What it makes
An architect rarely needs one image. You need a set that reads as one project, and a sheet you can put in front of a client on Friday.
Golden hour, blue hour, hard midday, overcast, night, dawn mist, after rain, winter, ten years of growth, populated. One click, geometry held.
Choose six, twelve or eighteen. It plans the sequence, wires it, prices it and renders in order while you do something else.
Four coordinated images, a title and a written concept, composed into a sheet and presentable full screen.
Plans, sections and elevations are never generated. A board reserves the slot and says so. A drawing that looks authoritative and is wrong is worse than a blank.
Take a render to 4K, same ratio or a new one. The brief forbids reinterpretation: resolution only, nothing invented.
Any image, any selection, a whole group — one at a time, numbered in canvas order so they sort correctly on disk.
Press play while one is running and it joins the line. One at a time, in order, stoppable — with what is waiting named on screen.
The prompt engine is a document you can read and replace. Load your studio's own and every prompt on the canvas follows it.
The canvas takes an Apple Pencil the way it takes a mouse — wire nodes, drag, draw, resize. Pinch to zoom, long-press for everything a right click does, and targets grow when you switch to a finger.
Load a track and it plays while you work, and keeps playing through presentation mode. Loop it, set the level, mute it with one key mid-pitch. A silent room is a hard room to present in.
A second model checks the prompt for the mistakes that waste a render, and tells you what it found. That check is free.
05 — The loop
A line of yours, a question back, a prompt written properly, a render. Nothing below is a mockup — it is the same sequence the canvas runs.
06 — Editing a picture
A render lands slightly cool, or the shadows are a stop too closed, and the usual answer is to export it, open something else, grade it, and bring it back — by which point the canvas no longer holds the truth. So the grade lives on the node. Double-click a picture and one column opens on the left: two layers, ten adjustments, eight looks. Everything below is live — drag anything.
07 — Anywhere
A desk is a good place to build a set. It is a poor place to be at four o'clock on a Tuesday when the client wants to see the west elevation and you are standing in their lobby. So the canvas works with a pencil and a fingertip, not only a mouse.
The Pencil is treated as a precise pointer, not a blunt one. Wire a graph, mark up a render, sketch a line over a plan — the same tools, the same accuracy, no separate tablet mode to learn.
Pinch to zoom, two fingers to move, double-tap to add a node, long-press for everything a right click does. Ports and handles grow on a touchscreen, because there is no hover to reveal them.
Present full screen from the same board you built it on. Give someone the tablet and let them move through the set at their own pace — nothing to export, nothing to open in another app.
A project is a file. Save it from the tablet, open it on the desktop, and the graph, the wires, the prompts and every render come back exactly as they were — along with the brief the office writes to.
Nothing about this is a cut-down version. It is the same canvas, reading a different kind of pointer.
08 — In motion
Nothing here is a recording — each one plays the real sequence, the question Nomad asks, the prompt it writes, the credits it quotes before spending them. The last is sound and narration, which is not built yet and is marked as such rather than quietly implied.
09 — The reel
A still holds the geometry. A moving shot holds the experience — how the court opens as you turn, how the light crosses a wall between one hour and the next. Everything below was made on the canvas from a render that was already there: no export, no second application, no re-modelling. Five shots, running at once, and the film they were cut into.
10 — Say it, don't build it
Everything below is one sentence into the chat. No node dragging, no settings, no prompt syntax to learn. Nomad reads your canvas, asks only what it cannot see, and then goes and does it.
11 — The numbers
It will not draw a plan, a section or an elevation. Those are measured documents and a generated one is a liability, so a board reserves the slot and says so out loud.
It will not promise a render is right. It shows you what was sent, asks whether the result matches, and rewrites the prompt against the failure when it does not.
It will not hide a cost. Every action that spends a credit shows the number before you press it.
12 — Community
Work made on Nomad stays the architect's. Anything shared to the community carries their name, their studio and their prompt — and nothing is shared unless they choose to.
13 — Pricing
Images are charged by resolution and clips by length. Prompts, the interview and a rewrite are 0.5 credits — near enough what they cost to serve, and the pre-flight check is free. Uploads cost nothing at all; every plan carries storage for the references you think with. Every model and every video engine is on every plan from the first day.
14 — Questions
It is the thing the whole prompt engine is built around. Every image-to-image prompt names the features that must survive, states the failure it is preventing, and repeats the lock at the start and the end. That is not a setting you can forget to turn on.
It is not magic. A model can still drift. What changes is that drift becomes rare and correctable rather than constant — and when it happens you say what is wrong in plain words and it rewrites the prompt against the failed image.
No. Screenshot your Rhino or SketchUp viewport and drop it on the canvas, or paste it. Anything you can see, it can read.
They go to the model provider you chose for that node, and nowhere else. The inspector shows exactly what was sent on every request — the prompt, the attachments, the model and the resolution.
No, and it will not pretend to. Measured drawings are documents people build from. A generated one that looks authoritative and is wrong is worse than a blank space, so a board reserves the slot and labels it.
A normal working day is around twenty-five prompts and a handful of renders — about six images. On Starter that is comfortable. Studios producing full sets weekly, or finishing video, land on Professional. Nothing expires mid-month and top-ups do not expire at all.
Uploading costs nothing. Only generating spends credits, so a project can hold hundreds of reference photographs to think with and never touch the balance — that is what the storage allowance is for.
Yes. The engine is a document, not a secret. Load your studio's own and every prompt written on that canvas follows it — and it travels with the saved project so the office stays consistent.
Made in Dubai
Nomad comes out of a practice in Dubai — architects who were losing evenings to renders and losing the building to the render. Every rule in the prompt engine is a mistake we made first.
The light here is unforgiving — a sun that flattens a facade at noon and rebuilds it entirely at five. Deadlines are short and the presentations are large. A tool that holds up on a Gulf tower on a Thursday afternoon tends to hold up anywhere.
It also means we are not guessing about you. We are an architecture office that got tired of the same afternoon, wrote something to take it away, and then found other studios wanted it.
Start
The demo is the real workspace with the renders already in it — every step, every panel, nothing generated. Click through a storyboard being planned and a slide being composed, then talk to us about your studio.