My work in UX/UI and Product Design is driven by a long-standing interest in how people perceive, remember, and interact with visual systems. Long before I began designing digital products, I explored how images shape memory, imagination, and spatial understanding — studies that continue to influence my approach to design today.
I see design as a cognitive and visual process: it’s about creating clarity in complexity and turning abstract ideas into experiences people can intuitively understand and enjoy. These research projects reflect the foundation of that approach — a curiosity about perception and representation that translates, in my current work, into thoughtful interfaces and meaningful user experiences.
Dissertations
(2002-2005)
CONSTRUCTION OF A GAZE
Contribution and relationship between cinema and memory
This study emphasizes the role of the image in memory, both as a symbolic element and as a necessity in the process of recognition. From many perspectives, contemporary society is essentially governed by images. Photography, newspapers, posters, cinema, and television are the driving forces behind this new form of external world that surrounds us and, consequently, acts upon our memory. Media largely shape social life, generate an overabundance of information, and have truly transformed modes of communication.
The result of this accumulation instinctively produces a desire to let ourselves be absorbed by illusion — by the imagination of a more comforting world. Media thus provide the ideal support for the manipulation of memory. It is primarily advertising images that create the illusions that enhance our personal sphere. These are images tied to the products we consume.
This intricate relationship between consumption and image can also be found in cinema. Our attraction to the cinematic and its illusory world appears first and foremost as a “suggestion from without,” to which we “yield without resistance,” for our activity is reduced to an extremely attentive and receptive passivity. The filmic image, among other things, allows for the composition of complex space-time relationships, delivering the sensation of a dislocation of reality.
Architecture, too, configures space and becomes a structure that organizes thought. The essential difference between an object and architecture as a mnemonic index lies in the fact that the former merely occupies space, whereas the latter configures it in time.
THE LAYERS OF IMAGINATION
of a green city: after-sprawl
Since the early 20th century, the growing presence of photographic imagery in the world has come to characterize modernity. But what is the particularity of these representations in the theoretical formation and formulation of the city?
This thesis sets out to analyze forms of representation — images as a vivid commutative device within the network of informational exchange. The focus lies equally on research and production, but also on the diffusion and reception of architectural reflection.
The study examines an architectural theory that takes shape within modes of representation: the formulation of the urban phenomenon of dispersal through the study of After-Sprawl: research for the contemporary city by Xaveer De Geyter. His theory of the city, inscribed within a contemporary period, is composed of 80% images (photographs, maps, diagrams, collages, and montages) used to define both the spectacular and objective representations of existing conditions.
Xaveer De Geyter proposes new spatial situations that can emerge within urban dispersal. He superimposes onto the existing situation layers of imagination that act as attributes — an urban ready-made, a series of urban situations that overturn the current image of sprawl. The networked city stages itself through its negative space — the void. Figure and ground exchange roles.