PUBLIC SPACE
2017 - ungoing
à revers revera 2025 / avec François Bonnot as BUREAU IDéAL
Un été au Havre, LE HAVRE FR - AD Gael Charbau
Les villes invisibles 2024
Festival Echappées d’art, ANGERS FR - AD Manifesto
Afterwork play 2017
Bienal da Maia, PORTO PT - AD Sergio Alves
Un été au Havre, LE HAVRE FR 2025 - AD Gael Charbau
à revers revera 2025 / avec François Bonnot as BUREAU IDéAL
Built in 1967 by architects Hermant and Déchenaud as a shelter from the wind for the parents of children playing on the beach — and inspired by the carousels of their childhood — this concrete kiosk stands as a testament to Le Havre’s reconstruction and remains etched in the memories of several generations of Le Havre residents. After years of neglect, the city government carried out a restoration project, and an artistic installation was planned for the building’s roof to coincide with the 2025 edition of “Un été au Havre.”
The design invites residents to approach the shelter and observe it from various angles—facing the sea and facing the city. As the work’s palindromic title suggests, “À revers revera” refers to the movements of people and the flows that have shaped and continue to animate this port city, from which one scans the horizon and which is viewed from the open sea.
The birds — the city lies along the migratory flight path southward— thus mingle with the faces and bodies of the figures, as if swept by the wind, and become a symbol of the movement that animates living beings, shapes cities, and enriches the spirit.
Festival Echappées d’art, ANGERS FR 2024 - AD Manifesto
Les villes invisibles 2024
Drawing for the tram’s covering
Titled *The Invisible Cities*, in reference to Italo Calvino’s 1972 book, the project is inspired by my wanderings through the city of Angers and by the closed — or infinite? — loop of this tram route, which runs from the outskirts to the city center. A daily route that becomes a drawing; that moves, transports, stops, and then sets off again.
To compose this drawing, I drew from the roots of the city and the words that define it, breaking down the names of the neighborhoods through which this tram line passes to extract motifs; then I delved into the municipal collections, exploring Angers’ history, the richness of its tapestries, and the discoveries from the archaeological excavations that preceded the construction of the tracks.
From this tangible, locally rooted material, I created a mural with clean lines, populated by rounded faces and forms reduced to their essence. From the leaf to the tram, the design covers the doors and windows, coming to life at every stop and thus accompanying the journey—whether imagined or real—of the city’s residents and visitors from afar.
Bienal da Maia, PORTO PT 2017 - AD Sergio Alves
Afterwork play 2017
Drawings for the azulejos tiles
The five walls at the entrance to Fabrica 3as depict a day in the life of a female worker at the local factory, from dawn to dusk. The factory, which was very active in the 1950s (and has since been transformed into a startup incubator), produced vegetable oil and attracted workers from all over the country. The workers’ housing was scattered around the factory, as their lives and work were closely intertwined.
The figures depicted along the walls are surrounded by a landscape that serves both as an essential element of the factory’s production and as a backdrop to daily activities. Similarly, the dematerialization of work confines us to increasingly restricted spaces—or even uproots us entirely—and challenges the boundaries between work time and leisure time.
à revers revera 2025 / avec François Bonnot as BUREAU IDéAL
Built in 1967 by architects Hermant and Déchenaud as a shelter from the wind for the parents of children playing on the beach — and inspired by the carousels of their childhood — this concrete kiosk stands as a testament to Le Havre’s reconstruction and remains etched in the memories of several generations of Le Havre residents. After years of neglect, the city government carried out a restoration project, and an artistic installation was planned for the building’s roof to coincide with the 2025 edition of “Un été au Havre.”
The design invites residents to approach the shelter and observe it from various angles—facing the sea and facing the city. As the work’s palindromic title suggests, “À revers revera” refers to the movements of people and the flows that have shaped and continue to animate this port city, from which one scans the horizon and which is viewed from the open sea.
The birds — the city lies along the migratory flight path southward— thus mingle with the faces and bodies of the figures, as if swept by the wind, and become a symbol of the movement that animates living beings, shapes cities, and enriches the spirit.
Festival Echappées d’art, ANGERS FR 2024 - AD Manifesto
Les villes invisibles 2024
Drawing for the tram’s covering
Titled *The Invisible Cities*, in reference to Italo Calvino’s 1972 book, the project is inspired by my wanderings through the city of Angers and by the closed — or infinite? — loop of this tram route, which runs from the outskirts to the city center. A daily route that becomes a drawing; that moves, transports, stops, and then sets off again.
To compose this drawing, I drew from the roots of the city and the words that define it, breaking down the names of the neighborhoods through which this tram line passes to extract motifs; then I delved into the municipal collections, exploring Angers’ history, the richness of its tapestries, and the discoveries from the archaeological excavations that preceded the construction of the tracks.
From this tangible, locally rooted material, I created a mural with clean lines, populated by rounded faces and forms reduced to their essence. From the leaf to the tram, the design covers the doors and windows, coming to life at every stop and thus accompanying the journey—whether imagined or real—of the city’s residents and visitors from afar.
Bienal da Maia, PORTO PT 2017 - AD Sergio Alves
Afterwork play 2017
Drawings for the azulejos tiles
The five walls at the entrance to Fabrica 3as depict a day in the life of a female worker at the local factory, from dawn to dusk. The factory, which was very active in the 1950s (and has since been transformed into a startup incubator), produced vegetable oil and attracted workers from all over the country. The workers’ housing was scattered around the factory, as their lives and work were closely intertwined.
The figures depicted along the walls are surrounded by a landscape that serves both as an essential element of the factory’s production and as a backdrop to daily activities. Similarly, the dematerialization of work confines us to increasingly restricted spaces—or even uproots us entirely—and challenges the boundaries between work time and leisure time.