from conception to integration
Worked with 
Technically fluent creative direction for immersive space.
I work on interactive, immersive and augmented public spaces across five phases : conception, design, prototype, production and integration. My creative thinking is technically informed: ideas arrive buildable, and technical decisions (and necessary adjustments) keep their creative intent.
Creativity, innovation and stability are one conversation, not a trade-off. Ambition that can't be sustained isn't true vision, and reliability with nothing to say isn't worth building. The work is finding the version where the idea is genuinely inventive and runs quietly for years.
I start with your objectives, not with a technology. Before anything is imagined, I want to understand what the space needs to accomplish: for your audience, your client, your programming, your operations team, your budget and your calendar. The creative approach comes out of those objectives. Technology is chosen last, in service of them.
I augment your expertise rather than replace it. Every team I join already knows things I don't: your brand, your audience, your venue, your production culture. My contribution is a specific one — holding the creative, spatial, interactive and technical dimensions of an experience at the same time, and keeping them moving together. I fit into the shape of your team, at the level of involvement that's actually useful.
I design for people — visitors and the people who run it. An experience is human-centred on both sides of the wall. Visitors should find it intuitive, accessible and worth their attention. The staff who open the space every morning should find it dependable, understandable and easy to live with. I hold both.
Services
Generative systems
Image, light and sound that are composed as a generative work. My systems have rules instead of timelines: it responds to a room, a season, a crowd, a dataset, and it never plays the same minute twice.
Nothing loops, everything breathes — which matters commercially as much as artistically. A generative system stays alive across a six-month run, absorbs new content & personalization without a re-edit, and gives returning visitors a reason to come back.
Site-specific work
Work rooted in a particular place: its architecture, its people, its histories and its folklore. Projection onto buildings and interiors, augmented scenography, and projection mapping elevated with sophisticated sytems.
This is where the technical and creative thinking are least separable: surface, throw distance, ambient light, sightlines and civic context are all creative material, and I want them in the conversation on day one.
Sensor-driven environments
Spaces that notice people. Computer vision, depth and body tracking, presence and motion sensing, interactive floors, instrumented objects and custom controls, used to make individuals feel seen in an environment where play and curiosity are encouraged.
The hard part is rarely the sensing. It's the interaction design: legibility without instructions, gracefully adapting the experience according to visitor traffic and accounting for different types of publics in one single experience.
Data and archives as narrative material
Turning something abstract ( environmental data, biodiversity figures, archival voices, community memory ) into something a person can feel and understand while standing in a room.
This is a translation problem before it's a visualisation problem: choosing what the data should make someone feel, then finding the visual and sonic language that earns it without flattening the source.
Live and real-time performance
Real-time visuals performed alongside musicians and dancers, where the system has to hold up in front of an audience, in one take, with no undo.
Realtime sensors insure audiovisual cohesion in a system designed to dynamically adapt to the performance.
Creative and technical direction
Leading interdisciplinary teams ( 2D & 3D artists, developers, fabricators, scenographers, integrators, music composers, venue staff ) so the creative intent and the technical reality stay one conversation.
This is often the mandate itself rather than a service attached to another one: an existing team that needs someone able to speak fluently to both halves of the room and make calls that hold in both.
five phases Process
Conception
Design
PROTOTYPE
production
integration
Turning an intent, a brand, a collection or a venue into an experience that is both worth making and possible to make.
Feasibility, materials, sensing, ux flow and inclusive design are part of the creative reasoning from the first sketch
I compose the work itself: scenario but into space and time. How the system behaves over an hour and over a season, design of authored and generative content, interactive step-by-step.
Interaction can't be approved on a slide. I build the core mechanics to answer the open questions, then put them in front of people who weren't in the room when they were designed.
Developping high quality generative & interactive experiences that will hold the test of time. Robust systems that stay true to creative intent and are ready for all interactive scenarios.
The phase most projects underestimate. On-site is where an immersive experience is actually won or lost.
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You get:
Moodboards and a shared reference language
Concepts grounded in what's technologically achievable, so ambition and feasibility develop together
Augmented scenography — how space, story and technology occupy each other
Interactive scenarios: what a visitor does, moment by moment
Full exhibit concepts, unified across visual, UX and technical
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You get:
Full design brief
Interactive step-by-step flow
Creative direction and visual direction
Complete experience UX flow
Technical deployment design
Accessibility validation
Materials and equipment list, with scope
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You get:
Working prototypes of the core interactions, built to answer specific questions
New interactive UX developed and iterated in the physical
User testing with real visitors, not stakeholders
Stress testing: crowds, misuse, edge cases, long-run stability
Creative adjustments made while they're still cheap
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You get:
Realtime content and interactive systems produced against the design brief
Experiential hardware sourcing, specification and acceptance
Creative direction held through every production decision
Version control, testing and pre-assembly before anything ships
Budget and schedule tracked against the original scope
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You get:
On-site installation and technical coordination with venue, scenography and trades
Calibration and alignment — projection, tracking, sensors, audio, lighting
Show control interconnection, sequencing, triggers and system orchestration
Network, power and hardware commissioning
Content loading and final creative tuning in the real room, in real light
Full-load testing before opening: soak runs, failure modes, recovery behaviour
Automated daily start-up / shutdown, so the experience runs without a technician
Run-book, as-built documentation and troubleshooting guide
Staff and operator training
Opening support, then post-launch tuning once real visitor behaviour is observed
Ongoing maintenance windows, remote monitoring and updates
For touring and popups: pack-down, transport specification and redeploy kit
Let’s Create Magic Together !