Origins: practice, correspondences and explorations.
NEXAPSIS emerges at the interfaces between design, expertise, visual and sonic arts, and lived phenomena. Its evolving organisation connects fields, axes and explorations through correspondences, interactions and documented processes.
Research grounded in practice.
NEXAPSIS originates in architectural design, project delivery, technical expertise and visual and sonic creation. Its foundations connect construction knowledge, observation of use, material experimentation, light, space and attention to perceptual phenomena.
The laboratory brings different ways of knowing into dialogue and critical confrontation: construction skills, design hypotheses, experimental protocols, artistic gestures and lived experience. Rather than dissolving disciplinary boundaries, these encounters seek correspondences that no single discipline could adequately characterise on its own.
A question precedes a solution. The discrepancy between intention, model and reality becomes a starting point for further explorations, documented, compared and re-evaluated.
Education, advanced learning and research practice.
Architectural education and design culture
The educational trajectory includes foundational architecture studies (1994), a degree-level architecture course (2000–2001, architecture and acoustics, video option) and DPLG studies pursued to BAC+6 level (2004, without describing this curriculum as an awarded DPLG diploma). It connects composition, geometry, history and theory, construction, representation, use and perception.
Design is considered throughout its development: programme, survey, spatial hypotheses, alternatives, materiality, joints, envelope, technical interfaces and translation into buildable documents.
French State Diploma in Architecture · “Trans Form” Master 2
Awarded in 2020 at the École nationale supérieure d’architecture de Normandie, through the “Working with Existing Buildings” course. The final project examined the rehabilitation and extension of a theatre, connecting conservation, contemporary intervention, use and transformation.
The study deepens a methodology for working with existing fabric: constructive and stratigraphic reading, continuity and rupture, reversible interventions, adaptation, reuse, resource economy and dialogue between inherited structures and new forms.
University Diploma in Judicial Expertise
The pathway includes preparatory studies in 2014, followed by a university diploma awarded in 2015 at the University of Rouen. It provides a methodological foundation in establishing facts, forming technical hypotheses, adversarial exchange, impartiality and traceable reasoning.
These principles inform experimental research: distinguishing observation from interpretation, assessing causal possibilities, disclosing investigative limits, comparing scenarios and communicating a verifiable technical argument without confusing expert work with judicial decision-making.
Technical and interdisciplinary development
Continuing professional education extends formal degree programmes and sustains regular critical updates of knowledge. Areas of study include expert practice and evidence, project delivery, construction regulations, safety, accessibility, building defects, thermal rehabilitation, construction systems and environmental performance.
Further development encompasses digital documentation, information tools, mediation, artificial intelligence and collaborative practices. Work on communication and leadership in 2025 included public speaking, professional relationships, negotiation and the management of complex situations.
Modelling and documentation
The working repertoire includes technical drawing, CAD and BIM workflows, 3D representations, photography and image processing, video, data tables and technical writing. Depending on the question, one hypothesis may be articulated through a section, diagram, physical model, measurement protocol, score or photographic sequence.
A tool does not constitute proof in itself: every representation has a scale, resolution and limitations. Moving from digital description to material form and then to embodied spatial experience is central to verification.
Visual, sonic and phenomenological explorations — self-taught practice
The laboratory’s artistic enquiry is rooted in a self-taught, self-directed practice shaped by hands-on experimentation, sustained encounters with artworks, material investigations and critical review of results. Learning develops through successive trials rather than a predetermined disciplinary syllabus. Detours, failures and unexpected discoveries are retained as research evidence and may prompt the revision of initial hypotheses.
In visual art, this independent approach encompasses photography, photo-painting, painting, inks, lacquers, monotype and imprint processes. Work focuses on layering, overlay, erasure, saturation and revelation. Each series examines how changes in gesture, support, material or light alter the presence and reading of an image. Traces are retained, compared and revisited to investigate the gradual emergence of an artwork.
Sonic experimentation involves close listening, modular synthesis, frequencies, beating patterns, resonance and temporal transformation. Sound is approached at once as a physical phenomenon, a sensory composition and a situated experience. It can become a material for exploring depth, silence, duration, immersion and correspondences with spatial and visual forms.
Phenomenological enquiry brings further precision by describing how a form or sound appears: distance, perceptual thresholds, bodily movement, memory, duration and the quality of presence. This account of lived experience does not replace measurement or technical rigour; it introduces a complementary mode of observation. Self-directed artistic practice thus remains open-ended, disciplined and revisable at the meeting point of making, perception and experimentation.
From knowledge to revisable hypotheses.
The laboratory starts with situated phenomena. Fields contribute specialist knowledge, axes organise correspondences to be tested, and explorations connect instruments, artistic practice and lived experience. Unexpected or conflicting findings can redefine the research pathway.
The protocol separates observations, measures, hypotheses, interpretations and created forms. Technical evidence is compared with artistic records and accounts of experience while each retains its specific assessment criteria. Results remain revisable and discrepancies are documented.
Education and advanced study are not presented as adjacent disciplines; they inform a method of translation, confrontation and critical feedback across design, expert assessment, artistic practice and perception.
Confront rather than juxtapose.
NEXAPSIS does not simply assemble unrelated disciplines. The laboratory focuses on their points of contact: space, matter, perception, image, sound and complex dynamics.
The question precedes the object, experience informs the model, and documentation retains uncertainty, discrepancy and limitations.
A culture of verification.
Architectural practice and technical expertise require a clear distinction between observation, assumption, modelling, experimentation and demonstration. Hypotheses are made explicit, conditions documented, variants compared and limitations identified.
The laboratory is under development and welcomes scientific, artistic and technical collaboration, with each partner retaining responsibility for their field of expertise.
One matrix, three interdependent operations.
Each enquiry can cross several fields, engage multiple axes and combine several explorations. Outcomes, including contradictory ones, may redirect correspondences, protocols and the original research question.
CORRESPONDENCES
Identify resonances without confusing analogy with evidence.
INTERACTIONS
Test hypotheses against material behaviour, spatial conditions and lived experience.
PROCESSES
Document, compare, revise and renew the investigation.