Every project,
in its own time.

Fourteen high-end villas on a hillside in the South of France, drawn not as a development, but as a village. Historic Mediterranean architecture, revisited: old stone walls, terracotta roofs, brick arches and timber pergolas, laid out along the slope the way hamlets have always grown, one house at a time, each finding its own terrace, its own view, its own privacy.

The material came first. Reclaimed stone, aged beams, hand-set brick, matter with memory, assembled with today's precision. Behind the old walls, everything is contemporary: light, comfort, and water carried down the terraces.

A boutique hotel in the South of France, 36 rooms, two restaurants, a spa, drawn as a white Mediterranean village around its water. Curved wings, arcades, roman-tiled roofs: an architecture that belongs to the South, redrawn with today's lines.

Water runs through the whole plan, pools threading between the sunbeds, a swim-up bar, terraces stepping down through the trees to a rooftop of olive trees and lanterns. Thirty-six rooms, and not one far from the water.

A residential ensemble set against the limestone cliffs of Uluwatu, three luxury villas and a family house, each stepping with the land rather than levelling it.

The rock came first. Its raw mineral presence set the palette and the posture of the whole project: stone-effect surfaces, textured mineral plaster, brushed bronze, matter that answers the cliff instead of hiding it. Glass opens the volumes to the horizon; the stone anchors them to the ground they grew from.

Every villa is oriented for light, privacy and the long view over the coast, a complex that reads as one gesture carved from a single site.

A private villa set in the hills of Uluwatu, where a single idea runs through everything: the curve, continuous, never broken. It draws the plan, bends the walls, rolls across the roofs and settles into the earth.

The architecture is worked in warm terracotta and earth render, softened at every corner. Undulating green roofs let the house disappear into its slope; a brick lattice filters the light and the wind. Inside, micro-cement, teak and green stone continue the same warm, tactile language, down to a terracotta bathroom lit by a single glowing circle.

Two villa types, one gesture, a house that curves with the land instead of cutting into it.

My first project built entirely in bamboo. A suspended shala wrapped around a living tree, a place to meditate, to practise yoga, to be still. Perhaps a secret corner for a quiet dinner.

The idea was simple, and it decided everything: turn around the tree, rather than against it. The tree was never an obstacle to design out; it was the reason for the form. The structure curls around the trunk and opens like a leaf above it, the tree welcomes, and it reveals.

Built by hand with a Balinese craftsman, cane by cane, in respect of the ground it stands on.

Reproduce the structure, and the essence, of a giant tree in the middle of the city. The trunk becomes a core of columns, gathering every technical organ: lifts, dry risers, services. From it, each floor of offices and apartments spreads outward like a canopy.

Every level shifts off-centre from the one below. That offset is what breaks the symmetry and gives the tower its movement. At the summit, a vertical forest. Around it all, a skin, wrapping the structure the way bark wraps a living trunk.

Competition · eVolo, New York · Hong Kong, 38,500 m² · In collaboration with Marchi Architectes & Nemo-k
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A five-bedroom villa on a lush plot in Ubud, where the existing trees, palms, endemic species, were the beginning of the drawing, not a constraint to work around. The brief was singular: an experience that is unusual and memorable, an architecture identifiable at a glance.

Against a Bali where projects multiply and blur into one another, this house takes a clear position, to design the unrepeatable, and to create value that is emotional as much as it is lasting. A circular volume of curved glass rises among the palms under a radial roof of ulin ironwood; a sculptural slide spirals down into organic water, the house becomes an event, not an object.

Status · earthworks started · Ubud, Bali
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It begins with the classic villa, walls, courtyard, roof, its symmetry, its stacked volumes, taken apart and reassembled at angles. The master bedroom slips out of alignment and turns west, claiming the sunset for itself; in breaking the plan, it makes room for a rooftop that takes its place naturally.

Borrowed from the black of the neighbouring temple, the palette becomes a discipline rather than a decoration, setting black against white. A villa of minimal, deliberately masculine, contemporary lines, built to resemble the man it was designed for.

Status · in progress · Berawa, Bali
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Designing a building is not about shaping an envelope; it is about imagining how one moves through it. The brief was simple, bright office spaces. The intention behind it was stronger: to embody a company's values in architecture.

The client's logo is a translucent sheet of paper, transparency, and work. That idea became structure: two volumes organised around an interior garden, a continuous line of sight from reception to offices to the rear garden. Light everywhere, glare nowhere.

Here, technology serves the architecture. Exposed steel, ducts and trusses become a visual language rather than a constraint, and the steel blue of the staircases pays quiet tribute to the logo.

Just as the company practises transparency with its clients, the building practises it in space.

On site · June 2026

Status · structure complete, fit-out in progress · Delivery 2026
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