A developer with a photographer's eye, fluent in how architects and designers think. I know what a design needs because I look at it the way you do.
See the workA Paris architecture practice working internationally, with a focus on material — how buildings, interiors, and furniture are made and what they're made of. One of the smoothest collaborations I've had: everything was agreed and signed off before I started building.
An annual design festival in Como — exhibitions, installations, and talks that move freely between design disciplines. Como is home, and building the platform for a festival on your own doorstep brings a different kind of attention to the work.
Marc Mimram Architecture Ingénierie is a Paris firm that designs bridges and complex structures, where the engineering is as considered as the architecture. Mimram builds bridges and stadiums that somehow feel weightless. The design — black on white, Monument type, red used once — matched that instinct. My part was making it hold: image handling, grid refinement, getting the scale of the work to come through without the site buckling under it.
An archive film festival held at the Villa del Grumello on Lake Como, run with the Centro Sperimentale di Cinematografia to keep Italian cinema history in view. An intimate festival — archive cinema, long conversations, a historic lakeside villa as the venue. Lorenzo and I have worked together for nearly fifteen years, mostly in the cultural sector, and that ease showed: the main challenge here wasn't the aesthetic, it was untangling a programme that mixed lectures, projections and talks in a way that actually made sense to navigate.
A wallpaper and décor studio in Tours, making hand-produced papers and historical reeditions. Atelier d'Offard works in techniques that almost nobody else still uses — historical patterns, production methods that predate mass manufacturing. They're precious about the heritage, rightly so, and Undo-Redo translated that into a design that asks the site to do one thing: get out of the way and let the detail in the work speak. The images needed to be explorable — the craftsmanship only reveals itself up close.
Small studios don't need agencies. You need a person who speaks your language and shows up reliably for the next project too. I become your go-to developer: no pitch decks, no account managers, just a direct line to the person building the thing.
For smaller projects, I handle everything: photography, design direction, and development. It's efficient, coherent, and nothing gets lost between disciplines — because one person holds all the threads.
Architecture studios, cultural institutions, design brands — these are my people. If your work lives where craft meets ideas, you won't have to explain yourself twice.
