Our works are driven by multi aspects which could be called "poetic-cosmo-typo-eco-territorial" as follow:

  • poetic...
    by the expression of the relationship between the individual and existence, culture, unanswered questions, the contradictory set of intuitions and concepts, fun certainties and incantatory doubts...

  • cosmo...
    by reference to the planet obliquity and the generated seasons, the space-time scale and the infinite dynamic cycles as a reminder to the humility...

  • typo...
    by the synthesis of considerations in an apparatus under the technical knowledge, the implementation constraints, the economy, the organization of life and its communication...

  • eco...
    by the care to design sustainable projects

  • territorial...
    by the relationship of the project and the human being to the visual and topographic area...

we design architecture for people through combined architectural/design approaches tailored to users, clients and local cultures such: narrative-based design, elegant structures, appropriate construction techniques, sustainability, flexibility, possible extension, sequences and quality of spaces and light, users movements, ...
we target the achievement of meaningful creative values rather than a predetermined style: our works are driven by the research of relevancy with a consistent approach based upon a main question: what does it means..?

architecture results from a high level of synthesis and becomes relevant when concomitantly applied on the individual elements (client needs) and the collective elements (fundamental human users needs).
each project is preceded by a specific methodology in order to "design the process of design", to reach the objective and simultaneously to develop added values.
among some examples:

  • green surfaces management with roof garden to retrofit possible agriculture and leisure surfaces... as food allows cerebral activities and human development.
  • energy management with natural ventilation, solar panels and wind turbines to reduce carbon emission... as comfort for education, happiness and human development.
  • flexibility for the evolution of needs with appropriate structures, space possible combinations, and internal space construction.
  • implantation and insertion in built and natural context to reach the right balance.
  • clarity of the image and architectural language as the semantic expressions of the content.
  • old-new relation development as historical expression is an open book for generations.
  • natural lighting to raise the comfort: sun and shadows control .

landscapes compose complementary scenes, spaces and journeys between, through, under or above buildings and contexts, combining with architectural and urban processes according the use of some of the following means.

  • vegetal
  • surfaces treatments
  • environmental design
  • outdoor furniture
  • art pieces

    with lower technical requirements, landscape design impacts on wider ranges of spaces and can have a remote visual impact (such a skyline or the colors of an environment). on closer distances, garden, garden roof, paths or parks easily provides censorial pleasures such...

  • the resonance of steps along the overpasses surfaces
  • screeching gravels
  • rustling of leaves in the wind
  • dangling shadows
  • alternating materials and edges
  • dripping of water
  • micro climats
  • pace of plants
  • tree vaults
  • and seasonal colors changes.
    this phenomena are designed for the observation, the relaxation, the memory and conveniences of break times, walk and leisure.
    overall, landscape design may specifically in some occasion embeds in architecture with green facades and roof garden for leisure and food production to compensate the built surfaces or even participate to the retrofitting of green surfaces up to the retrofitting of agriculture in the city.

furniture such tools expresses human physiological evolution (walking from 4 to 2 legs) and the concomitant development of the brain, simultaneous generation of specific activities and respective positions of the human body.
basic or refined, mass product or single unique piece, result of fine craftsmanship, small series or industrial production ... furniture contain and express an important part of the evolution of civilizations and cultures.

  • sitting waiting, eating, work or study.
  • lying to sleep, relax or watch the sky
  • storing to organize, protect, or show objects ... furniture extends the processes of interior or exterior design.
    the materials, machinery and equipment allow plethora of possibilities: although the basic functions do not change, the furniture is continually reinvented to serve new businesses, to make the product easier, more comfortable or more affordable.
    among our research are ranges of furniture based on the transformation of semi-finished products by CNC machines as side production for SMEs.

graphic is a convenient means of 2D representation of ideas, concepts and any topics. it may either purposely be generated by the journey of a point on the page or alternatively be the projection of 3D, 4D immaterial/material elements on a 2D support. it also can be the 2D representation of a brain image.
the attraction for graphic is due to the capacity of the brain to transform spatial facts in images for the easiness of communication and convenience of the memory. It's also the reversed capacity to evoke and represent elements which can possibly or impossibly exist as spaces, objects, scenes, events, sounds, light, etc
graphic is also a helpful support within the creativity process of other fields such architecture if used correctly: it should in any case precede any CAD. then graphic is an interface between the immateriality of an idea for it's representation up to the materialization: a tool and a journey through a small part of the brain creative capacities.

descriptive, narrative or theoretical the text is like the drawing; a tool of thoughts and representation, completing, replacing or just an intermediary means within the project creative process.
here, texts do not pretend to any literature work: they are archived such notes, sketches or drawings of the same creative practice; memories, essays and anecdotes of researches and project thoughts.
It can punctuate a drawing, like a doodling in the margin of a text: a far landscape, an animal, a flower, or the abstract scheme of an escaping thought...which will later be caught again.
the organization of words run along the design of space: the narration of the process allows to precise the thought, to temporarily fix milestone, possibly illogical or even absurd. It will allow to later check the coherence, to forget or to validate. Incomplete, imprecise or lacking of clarity, the text is more conceptual, more immaterial than the drawing: (writing "yellow" instead to represent the color let all variations and intensity of yellow, pale yellow or kind of ocher colors to be discovered, e.g.).