160 pages
Hand-bound
PMMA and brass case
_
Critical and editorial research project conducted as part of the specialised master’s degree in Architecture and Scenography at the École nationale supérieure d’architecture Paris-Belleville.
Graduated with highest honours in March 2026.
_
I use the term missing part to describe everything within the museum that escapes the eye. When a permanent collection is staged according to specific selection criteria and a historical narrative, other stories remain latent. The missing part also refers to material absences resulting from the passage of time—broken or fragmented objects—or from histories of circulation—works that have been displaced, looted or relegated to storage. Finally, it encompasses the immaterial dimensions of objects—contexts, traditions and uses—that are sometimes left outside the frame.
By producing regimes of visibility, museum scenography can convey conflicting visions of art history. In the sensitive context currently facing museums—decolonial thinking, contextualisation, restitution debates—the question of the responsibility of form becomes unavoidable, revealing the ambiguous role of the scenographer when confronted with collections and the absences that run through them. I am therefore interested in the ways labels, walls, light, materials, circulation paths, plinths and display cases shape both our gaze and our encounter with objects.
A total architecture-scenography of absence, the Parthenon Gallery at the Acropolis Museum in Athens (Bernard Tschumi Architects, 2009) transforms the constraint of the incomplete frieze into a narrative strategy and advocates for the reunification of the Parthenon Marbles, dispersed since the early nineteenth century. Bringing together one hundred and thirty objects from diverse origins, the Gallery of the Five Continents at the Louvre Museum (scenography by Wilmotte & Associés), inaugurated in December 2025, raises questions about the contextualisation of works originating from different cultures, periods and territories. The performance Les Ombres (The Shadows) by Compagnie Nacera Belaza, presented for the inauguration, approaches the missing part through the scale of gesture.
Conceived as an investigation, moving between the positions of visitor, spectator and scenographer, this research examines the challenges of staging heritage and the impact of scenographic devices on the transmission of narratives.
Scenography
160 pages
Hand-bound
PMMA and brass case
_
Critical and editorial research project conducted as part of the specialised master’s degree in Architecture and Scenography at the École nationale supérieure d’architecture Paris-Belleville.
Graduated with highest honours in March 2026.
_
I use the term missing part to describe everything within the museum that escapes the eye. When a permanent collection is staged according to specific selection criteria and a historical narrative, other stories remain latent. The missing part also refers to material absences resulting from the passage of time—broken or fragmented objects—or from histories of circulation—works that have been displaced, looted or relegated to storage. Finally, it encompasses the immaterial dimensions of objects—contexts, traditions and uses—that are sometimes left outside the frame.
By producing regimes of visibility, museum scenography can convey conflicting visions of art history. In the sensitive context currently facing museums—decolonial thinking, contextualisation, restitution debates—the question of the responsibility of form becomes unavoidable, revealing the ambiguous role of the scenographer when confronted with collections and the absences that run through them. I am therefore interested in the ways labels, walls, light, materials, circulation paths, plinths and display cases shape both our gaze and our encounter with objects.
A total architecture-scenography of absence, the Parthenon Gallery at the Acropolis Museum in Athens (Bernard Tschumi Architects, 2009) transforms the constraint of the incomplete frieze into a narrative strategy and advocates for the reunification of the Parthenon Marbles, dispersed since the early nineteenth century. Bringing together one hundred and thirty objects from diverse origins, the Gallery of the Five Continents at the Louvre Museum (scenography by Wilmotte & Associés), inaugurated in December 2025, raises questions about the contextualisation of works originating from different cultures, periods and territories. The performance Les Ombres (The Shadows) by Compagnie Nacera Belaza, presented for the inauguration, approaches the missing part through the scale of gesture.
Conceived as an investigation, moving between the positions of visitor, spectator and scenographer, this research examines the challenges of staging heritage and the impact of scenographic devices on the transmission of narratives.
