Sensitive spatial analysis through literary cinema
I'm a freshly graduated architect from ENSA Versailles (diploma in June 2026), currently initiating a thesis on the figure of Ferdinando Sanfelice and late Baroque architecture in Naples. This research took me to Naples for three months, during which I also shot my short film Au Palazzo di Majo, with the support of CASA Centro delle Arti Napoli.
Alongside architecture, I'm a fiction writer, and work with photography and sound. These practices are entirely self-taught, built from years of reading and watching films rather than formal training. Nothing has been published yet (it's a young practice) but I take it as seriously as my architectural work.
My path has combined academic architecture with hands-on, image-based experience: studying abroad for a semester at TU Delft; an internship at OFFICE Kersten Geers David Van Severen in Brussels; classifying an architect's photographic archive in Paris; and assisting curator Yoyo Maeght on contemporary exhibitions. I also spent a week in Naples on a residency dedicated to the photographic and sound production of my film.
Right now, my central interest is questioning architecture and culture as globalized and hegemonic, and searching instead for site-specific cultures that resist this homogenization. This is part of why I'm moving to Italy, to get closer to these questions, and to the places and thinkers that inform them. I'm currently reading and watching a great deal of Pier Paolo Pasolini, whose thinking is central to how I approach these questions today, and I wish to bring my own sensitive, literary methods into this same search for what resists, and what remains singular, in the spaces we inhabit.
This work began with my master's thesis in architecture at ENSA Versailles. I approached this as an experimental way of showing architecture, a departure from how we're usually taught to analyze space.
Scholarly analysis tends to exhaust its object of study: it circles the building, the site, the space, until there's nothing left to say, and yet to me something always seems missing, I never feel quite like I got to the "bottom" of my research. So instead of starting from the object of study, I started from myself, I experimented taking myself as the subject, and developing a form of autofiction to approach and analyze architecture in a new experimental way.
This became a film, though it barely resembles cinema in the traditional sense: there is almost no moving image. It is built entirely from photographs and text, two key tools in my practice as an architect and as an artist. I believe this film restitutes something no classical analysis could : a sensitive, personal impression of space. And that impression might also make emerge some of the elements we reach for through classical analysis.
I'm also a fiction writer, and I believe that storytelling (writing, but also photography as I practice it, in series) can speak of architecture just as rigorously as conventional analysis, while reaching something conventional analysis cannot: the lived, felt, personal dimension of space. I want to promote and to keep developing this poetic, literary approach to architecture, treating it as a method as valid as any other.
I'm already working on new directions for this practice, such as multimedia installations where text and image are recorded and made to dialogue with one another in real time, inside of already significant architectures. I'm also starting the montage of a second film.