Samuel Bianchini (PhD – HDR)

Head of the Research Group “Reflective Interaction”

Samuel Bianchini is an artist and associate professor (accreditated to supervise research) at École nationale supérieure des Arts Décoratifs (EnsAD, PSL University, Paris).

His creations involve physical as well as symbolic operations, in context, in public and in real time, stimulating us to contemplate, to think as much as to act. Supporting the principle of an “operational aesthetic”, Samuel Bianchini works on the relationship between the most forward-looking technological “dispositifs”, modes of representation, new forms of aesthetic experiences, sociopolitical organizations and connection with the environment. To this end, he collaborates with scientists and engineering research laboratories: Limsi-CNRS (Computer Science Laboratory for Mechanics and Engineering Sciences, Orsay), Orange Labs, CEA (French Alternative Energies and Atomic Energy Commission, Saclay), ISIR (Institute for Intelligent Systems and Robotics, Sorbonne Université-CNRS), etc.

He lives and works in Paris. With more than 100 collective and 20 solo exhibitions, his works are regularly presented in Europe and around the world: Jeu de Paume (Paris), Zürcher Gallery (New York), Centre Georges Pompidou (Paris), Wood Street Galleries (Pittsburgh), Institut français de Tokyo, Stuk Art Center (Leuven), Nuit Blanche (Toronto), Medialab Prado (Madrid), Palais de Tokyo (Paris), Kunsthaus PasquArt (Biel), Waterfall Gallery (New York), Art Basel, Deutsches Hygiene-Museum (Dresden), National Museum of Contemporary Art (Athens), FIAC (Paris), Laboratoria (Moscow), Thessaloniki Biennale, Rencontres Chorégraphiques de Carthage, Centre pour l’image contemporaine (Geneva), Biennale de Rennes, La Ménagerie de verre (Paris), space_imA and Duck-Won Gallery (Seoul), Nuit Blanche (Paris), Museum of Contemporary Art Ateneo of Yucatán Museo de Arte Contemporáneo Ateneo de Yucatán (Mexico), Cité des sciences et de l’industrie (Paris), Zentrum für Kunst und Medientechnologie (ZKM, Karlsruhe), Musée d’art moderne de la Ville de Paris, La Villa Arson (Nice), etc.

In close relation to his research and artistic practice, Samuel Bianchini has undertaken theoretical work, which has led to numerous publications. He hase given more than 200 lectures across the world and published over 70 texts with publishers such as Editions du Centre Pompidou, Editions Jean-Michel Place, MIT Press, Analogues, Burozoïque, Hermes, Les presses du réel, Springer, etc. As an author, director or co-director, he edited 7 books including the collective reference book Practicable. From Participation to Interaction in Contemporary Art, MIT Press, 2016 (co-directed with Erik Verhagen); the collective book Behavioral Objects 1 – A Case Study: Céleste Boursier Mougenot, Sternberg Press, 2016 (co-directed with Emanuele Quinz and distributed by MIT Press); and, À Distances – Œuvrer dans les espaces publics, Les presses du réel, 2017 (with Mari Linnman).

Born in 1971 in Nancy, he studied art through different approaches: Fine Arts (Post diploma, Ecole régionale des Beaux-arts de Nantes), Decorative Arts (EnsAD, École nationale supérieure des Arts Décoratifs, Paris), Art & Design (Central Saint Martins College of Art and Design, London), Applied Arts (Ensaama, École nationale supérieure des arts appliqués et des métiers d’art, Paris), Arts and Crafts (Conservatoire des arts et métiers, Paris) and Plastic Arts (Université Paris 1 – Panthéon-Sorbonne).

He defended his PhD thesis at Palais de Tokyo with a solo exhibition and, more recently, his accreditation to supervise research (HDR) at the crossroads of artistic, technological and political issues, entitled Dispositifs artistiques, dispositifs politiques. Une esthétique opérationnelle comme faculté de mobilisation individuelle et collective [Artistic dispositif, political dispositif. Operational aesthetics as a faculty of individual and collective mobilization]. He is now teacher-researcher at École nationale supérieure des Arts Décoratifs (EnsAD) – PSL University, where he is the head the Reflective Interaction group of EnsadLab (EnsAD’s laboratory) on research on interactive “dispositifs”. Here, he is also co-head of la Chaire arts & sciences set up in 2017 with École polytechnique and the Daniel & Nina Carasso Foundation. He is a member of SACRe Laboratory (Sciences Arts Création Recherche – EA 7410) of PSL University and involved in its doctoral program for which he supervises PhD in art and design. He is also member of the canadian research-creation network Hexagram and associate member of the Cluster of excellence Matters of Activity, Humboldt Universität zu Berlin.


Publications (selection)

• Research Gate:
• Academia:

Practicable. From Participation to Interaction in Contemporary Art, Ed. MIT Press, Cambridge / London, 2016:
Behavioral Objects, Ed. Sternberg Press, Berlin / New York, 2016:
Audience Works, Ed. mfc-michèle didier, Brussels, 2013:
Simulation technologique & matérialisation artistique – Une exploration transdisciplinaire Arts / Sciences, Ed. L’Harmattan, Paris, 2011:
Recherche & Création. Art, technologie, pédagogie, innovation, Montrouge, Ed. Burozoïque and École nationale supérieure d’art de Nancy, Montrouge, 2009; reissued by Art Book Magazine, Paris, 2012:
Joseph Beuys – Films et vidéos, Ed. Centre Pompidou, Paris, 1994:

David Bihanic (PhD)

Designer and founder of the FXDESIGNSTUDIO (FXDS) digital design agency, associate professor at Paris 1 Pantheon Sorbonne — permanent researcher at the ACTE Research Institute (UMR 8218), and associated researcher (honorary member) responsible for Digital Affairs at CALHISTE Laboratory (Culture, Arts, Literature, History of Societies and Foreign Territories — EA 4343) as well as at EnsadLab — David Bihanic examines the different paradigms of visualization and manipulation of large and complex datasets. Thanks to cognitive-aesthetics analysis of visual organizations of information, he explores new opportunities for data design (data visualization aesthetics, and creative informatics). David is an accomplished professional with more than fifteen years of experience in creative design industries. He published several books and book chapters, as well as numerous scientific articles relating to the new stakes of design (considering the linkages between Design and Engineering Sciences); he then takes an active part in the evolution and transformations occurring in this field. His research is also centered upon new “end-user” interfaces (map-like, tangible, relationship-based interfaces, etc.).


Dominique Cunin (PhD)

Dominique Cunin is graduate of École Nationale Supérieure d’Art de Nancy and the EESI of Poitiers (Master). The topic of his art project is the representation and understanding of space through digital technologies of image. His practice englobes computer graphic animations, interactive installations, experimental softwares development, multiuser online environments and art experiments on mobile devices. A one-year exchange program with the Kanazawa University of Art allowed him to study japanese which he speaks fluently today. He is currently a PhD student at Université Paris 8 under Jean-Louis Boissier’s guidance, a researcher at EnsadLab (École Nationale supérieure des Arts Décoratifs, Paris, for the program Écrans mobiles et Récits interactifs), and a teacher in digital media at Valence’s school of the art and design. He had the opportunity to be curator of the exhibition Continuum, in the official program of Luxembourg 2007, within the European capital of culture. His works are shown in exhibitions related to research programs such as In-Out (2006-2008, Paris – Citu), PlayTime (2011 – Yverdon-les-bains, Swiss) and published in online publications (2010 – So Multiples) or printed books (2009 – R & C – Recherche & Création – Burozoïque/Ensa Nancy). His participation at Isea 2011 involved the use of Mobilizing, a programming language for mobile screens created for visual artists. Since 2008, he is Mobilizing’s co-developer as well and its major contributor. Mobilizing resulted into the establishment of a collaboration between the lamas (Japan) and the HEAD (Geneva) where Dominique occasionally intervenes in the Media Design Master degree.


Alexandre Dechosal

Particularly interested in digital media and graphic design, Alexandre Dechosal joined in 2007 École Supérieure d’Art et Design in Valence (Drôme), where he obtained a DNAT then a DNSEP. During five years of study, he focused his practice on the issues of screen graphics within ergonomic constraints. His research, also applied to everyday life, lead him to question the mobility of graphic interfaces. Alexandre joined EnsadLab in 2012, first in the EMeRI program and then in DiiP (now Reflective Interaction), in 2013. He took part in many events such as Surexposition where he designed the identity and the interface of the application. Since 2015 and still today, he continues to practice as an independent graphic designer and remains intimately linked to the project developed by Reflective Interaction: the MisB Kit interface, the identity and the user interface of Mobilizing-js, Discontrol Party #3, the identity and design of the site of Reflective Interaction, etc.


Antoine Desjardins

For numerous years, Antoine Desjardins has been committed in the fine art field on topics around sculpture and its making up. His various subjects use tensions between cultural values and natural organisations which are disclosed by graphic and photographic images. After getting his Master’s degree on “The use of plastic materials in art” in the University of Provence Aix-Marseille (1980), Antoine lived and worked in New York city from 1981 to 1990. He currently lives in Paris where he pursues a reflexion on the influence of digital tools and language in the process of form creation in fine art. Since 1993, he has been teaching art, particularly the evolution of representation systems and production means. He founded digital practice studios of sculpture and object in the national art schools of Nancy and Limoges. He has been a member of colloquium committees of École des Mines of Nancy (“Métallurgie, Art, Informatique 2003”, “Iris, sens et essence de la couleur 2005”) and has played a part under many forms in various art schools and Universities (“Pertinence des outils numériques dans les processus de création de formes et d’images” École d’art de Trèves (Allemagne) 2004, “Dust & Digital. On the incidence of digital tools in object conception and creation” Jingdezhen Ceramic Institute, Jingdezhen, China, 2008, “Eines informatiques en els processos de creacio” Facultad de Bellas Artes, Barcelona 2009, “Plurivocité et ubiquité des outils numériques” École d’Etat des Beaux-Arts de Yerevan, Armenia 2010, etc.). He collaborated with professionals (Société NSided, conception du logiciel Quidam3D, 2005, Metallurgie Rml-MicronEst, Florange, 2010). His art work is regularly shown in galleries and exhibitions. He has been working on some Modules “recherche & création” since 2015 ( 2015, 2016), ( 2017 et 2018). He now teaches in the “Art et Espace” section and is in charge of 3D-4D printing in the Reflective Interaction group of EnsadLab.


Lucile Haute (PhD)

Lucile Haute is an artist, PhD in fine arts, lecturer in design at Université de Nîmes and associate researcher at EnsadLab. She studies graphic, editorial and interactive design, the artist’s book and art edition (print, hybrid or digital), forms of publication of research in art and design, the new ways of publishing, the design of scientific editions (periodicals, books) and hybrid forms of fiction (text read and to read, etc). Lucile studied the habitability of the contemporary world by embodying a particular cyborg figure, with performances at the edge of tangible and digital spaces. She uses actual tools and techniques: from the more traditional ones (drawing, design object, wood, photography) to more modern ones (digital technologies, virtual realy, apps). She directs the collection liteʁal from Art Book Magazine (Paris) which presents digital books and well as printed ones, in French or in English, dedicated to modern art, design and research in those areas. Each essay or text of this collection is subjected to graphic experimentations as well as typographic, interactive, plastic and aesthetical ones. As she explores the book’s response to livre to the digital era, her approach is a research by and through design. Lucile is a permanent member of EA 7447 – PROJEKT, from Université de Nîmes, and associate member of EA 7410 – SACRe (Sciences, Arts, Création, Recherche), from Paris Sciences et Lettres Research University. Her work can be found on her website She is a founding member of the collective

Publications (selection)

• Lucile Haute, “Que dansent sorcières et designers à travers les strates d’instanciation de la recherche.”, in Magazine Azimuts #51 Formation, Cité du Design de Saint-Étienne, 2020.
• Lucile Haute, “Performances contemporaines : actualisations d’un devenir cyborg”, in Sylvie Bauer &alt., Subjectivités numériques et Posthumain, Rennes, PUR, 2020, p.187-200.
• Lucile Haute, “Livres mécaniques et chimères numériques”, in Magazine Back Office #3 Écrire l’écran, Paris, B42, 2019, p. 72-83.
• Renée Bourassa, Lucile Haute, Gilles Rouffineau (dir.) Magazine Sciences du Design #08 Éditions numériques, Paris, Puf, 2018.
• Lucile Haute and Julie Blanc, “Publier la recherche en design : (hors-)normes, (contre-)formats, (anti-)standards”, in Magazine Réel Virtuel #6 : Les normes du numérique, 2018.
• Lucile Haute and Julie Blanc “Standards du web et publication académique” in CodeX n°1, Paris, HYX edition, 2017, pp. 14-15.
• Lucile Haute, “Chapitre V – Design des catalogues d’exposition sur supports numériques. Études de cas.” and “Chapitre VII – Portfolio : Conception graphique de catalogues d’expositions numérique.” in Alexandra Saemmer and Nolwenn Tréhondart (dir.), Livres d’art numériques : de la conception à la réception, Paris, Hermann, June 2017, pp.109-123 and pp 139-149.
• Lucile Haute, “L’hyperfiction Conduit d’aération : entre littérature et design, construction d’un roman augmenté pour tablettes et liseuses”, in Les écrans tactiles mobiles, Anaïs Guillet (dir.), Paris, edition, 2015.


Director of the liteʁal collection by Art Book Magazine (Paris).
From Bits to Paper, Filipe Pais (dir.), collective, printed by 24x32cm + ePub, 196 pages, 2018, language: English.
La création en actes, enquête autour d’une exposition de Pierre di Sciullo, Francesca Cozzolino (dir.), collective, ePub, 2020, language: French.
Editorial director of the Magazine Hybrid dedicated to arts and human mediations (PUV).

Socorro Castro García (PhD)

Socorro Castro García is Associate Professor (Profesora Titular de Universidad) of Inorganic Chemistry at the University of A Coruña (UDC). Since her PhD studies at the University of Santiago de Compostela about magnetic materials, Socorro has been dedicated to the research and development of functional materials. During her postdoctoral stage (1996-1998) at the University Paris 6 (France), she focused on the preparation, characterization and study of materials (ionic conductors) with electrical and optical properties for cathodes of Li-batteries and for electrochromic devices. After the incorporation at the University of A Coruña in 1998, in the Solid State Chemistry group led by María Antonia Señarís Rodríguez, she continued doing research on functional materials with electrical, magnetic and/or optical properties, covering functional oxides, metal-organic frameworks, nanoparticles, with magnetorresistive, dielectric, magnetoelectric, and multiferroic properties. Socorro is co-author of one patent, more than seventy scientific articles published in international journals and more than a hundred and thirty scientific communications in national and international congress. She participated in twenty-one research projects and she works regularly as visiting research in other international laboratories (University Paris 6, France; University Diderot-Paris 7, France; University of Berkeley, U.S.A.; European Synchroton Radiation Facility, Grenoble, France; Institute Laue Langevin-Neutrons for Science, Grenoble, France; École nationale supérieure des Arts Décoratifs, Paris, France). She directed five PhD theses and several master theses and degree theses. Socorro is reviewer of scientific journals such as Chemical Science, ACS Applied Materials & Interfaces, Chemical Engineering Journal, Journal of Colloid and Interface Science, Journal of Physics D: Applied Physics, Materials Science and Engineering B, Journal of Solid State Chemistry, Journal of Physics and Chemistry of Solids, Journal of Physics: Condensed Matter, Journal of Alloys and Compounds, Materials Research Bulletin, Acta Crystallographica Section B, Journal of Magnetism and Magnetic Materials, IEEE Transactions on Magnetics, etc. She is also very active on science dissemination, giving conferences, lectures and workshops in libraries, museums and schools.


Rahma Khazam (PhD)

After studying philosophy at the University of Edinburgh and art history at the Sorbonne, Rahma Khazam obtained her Ph.D in Aesthetics from Paris I Panthéon-Sorbonne University. Her research spans contemporary aesthetics as well as the new philosophical movements such as speculative realism and new materialism. She has been collaborating on the “Behavioral Objects” research projet (with EnsadLab et l’EUR ArTec) since 2016, exploring in particular the philosophical aspects of the behavioral objects, their agency, nonanthropomorphism and nonanthropocentrism, and their relevance to such notions as posthuman and subject/object.  Rahma participates regularly in international conferences, such as “Deleuze + Art: Multiplicities, Thresholds, Potentialities” (Trinity College, Dublin, 2016),  Nonhuman Agents” (Art Laboratory, Berlin, 2017), L’écho du réel” (Paris, 2019), “RE:SOUND – 8th International Conference on the Histories of Media Art, Science and Technology 2019”(Aalborg University, Denmark, 2019), “Hacking the Computable” (HMDK Stuttgart, 2020), Cultural Logic of Environmentalization (Leuphana Universität, 2020 and 2021). She is affiliated to Institut ACTE Paris 1, and a member of AICA (Association internationale des critiques d’art) and  DGA ( HYPERLINK “”Deutsche Gesellschaft für Ästhetik). 

Publications (selection) : 
• « Distant Affinities : Speculative Realism and the Philosophy of Gilles Deleuze », Lithuanian Journal of Philosophy, Volume 18, no. 4, 2016
• « From the Object to the Hyperobject : Art After the New Art History », in Newest Art History: Wohin geht die jüngste Kunstgeschichte?, Verband österreichischer Kunsthistorikerinnen und Kunsthistoriker (dir.), 2017
Une poétique pragmatiste : Considérations sur l’œuvre de Franck Leibovici, Rahma Khazam (dir.), Dijon: Les presses du réel, 2018
• « Art, Science and the Mutant Object », in Post-Specimen Encounters Between Art, Science and Curating, Bristol : Intellect, 2020
• « Son et Image : Face au Réel », in L’écho du réel, Paris: Editions Mimésis, 2021 
• « Clement Greenberg’s Modernism: Historicizable or Ahistorical? » in Historical Modernisms, London : Bloomsbury, 2021
• « Ikonische und spekulative Wende : Von Visualität zu Realität », inNach der ikonischen Wende. Aktualität und Geschichte eines Paradigmas, Berlin: Kadmos, 2021 

Annie Leuridan

Annie Leuridan lives in the North of France. She is a light scenographer, a landscaper, an activist, she co-writes documentaries and is an assistant director. She creates light for shows and installations for exhibitions. Her works parallels the opera and modern theater’s exploration of diverse scenic forms. Today, she devotes her time to light for dance shows (for Mylène Benoit, Nathalie Baldo, Cyril Viallon, Amélia Estevez with whom she co-signs Fôret/Selva) according to spaces, volumes, colors and rhythms as elements of narration. Her meetings with plastic artists (such as Isabelle Bonté, Marie-Julie Bourgeois, Mathieu Bouvier, Hervé Lesieur, Laurent Pernot) lead her to deal with light as the basis of works themselves. She worked on the light of exhibitions origanised by a group of Urban Poets, Les Saprophytes, who aims at the creation of an urban utopia. Since 2004, Annie questions through her work the tools which condition light’s form and writing. Her research relies on actual techniques (motion capture, animated pictures, personal computer and free software use) and more traditional tools such as spotlights and projector equipments. It allows her to revisit their traditional use.

Florent Levillain (PhD)

Florent Levillain is a researcher in cognitive psychology, specialist of the undestanding of perceived behavior. He is currently a university lecturer at the University of Technology of Compiègne (UTC), in the COSTECH laboratory, in the Technology and Human Sciences department. During his thesis, he conducted research on the understanding of dynamic scenes, both at the International School for Advanced Studies (Trieste, Italy) and at Paris 8 Saint Denis University. After a postdoctoral fellowship at Johns Hopkins University, Florent has joined the Reflective Interaction research group to reflect on the understanding of robotic artifacts’ behavior. Florent is currently developing experimental methods to determine the expressive aspects of a movement, as well as theoretical models to understand ontological intuitions about animated objects. Florent is also working on the evaluation of the interaction with robotic and virtual swarms.


Publications (selection)

• Levillain, F., & Zibetti, E. (2017). Behavioral artifacts: The rise of the evocative machines. Journal of Human Robot Interaction, 6(1), 4-24.
• Abe, N., Laumond, J-P., & Levillain, F. (2017). Using a dance notation system to generate movements in a humanoid robot: The utility of Laban notation for robotics. Social Science Information, 56(2).
• Levillain, F., Zibetti, E., & Lefort, S. (2017). Interpretating the behavior and interacting with autonomous robotic artworks. International Journal of Social Robotics, 9(1), 141-161.
• Zibetti, E., & Levillain, F. (2016). “Off Road: Profiling the artwork and the audience experience”. In S. Bianchini & E. Quinz (Eds), Behavioral Objects 1. A Case Study: Céleste Boursier-Mougenot. Sternberg Press.
• Bianchini, S., Levillain, F., Menicacci, A., Quinz, E., & Zibetti, E. (2016). “Towards behavioral objects: A twofold approach for a system of notation to design and implement behaviors in non- anthropomorphic robotic artifacts”. In J-P. Laumond & N. Abe (Eds.), Dance Notation and Robot Motion. Springer.
• Bianchini, S., Bourganel, R., Quinz, E., Levillain, F., & Zibetti, E. (2015). “(Mis)behavioral Objects: Empowerment of users vs. empowerment of objects”. In D. Bihanic (Ed.), Empowering Users through Design. Interdisciplinary Studies and Combined Approaches for Technological Products and Services. Springer.
• Levillain, F., & Zibetti, E. (2012). Segmentation et perception intuitive dans l’interprétation de l’action. Quels liens possibles ? Proposition d’un niveau intermédiaire de représentation. L’Année Psychologique, 112(2), 277-308.
• Levillain, F., St-Onge, D., Zibetti, E., & Beltrame, G. (2018). More Than the Sum of its Parts: Assessing the Coherence and Expressivity of a Robotic Swarm. 2018 27th IEEE International Symposium on Robot and Human Interactive Communication (RO-MAN), 583–588.

Filipe Pais (PhD)

Filipe Pais is a lecturer, researcher, curator and artist living between London and Paris.

Filipe has been particularly interested by the ways contemporary art and design movements inquire technological agendas, dealing with issues such as transparency, blackboxing, behavior, play, dematerialization, flow, immersion, algorithmic governance, ecology and life after google.

At the moment, he is a research associate at the Reflective Interaction group from EnsadLab (the laboratory of EnsAD – Ecole Nationale Supérieure des Arts Décoratifs, Paris) and he teaches in the fields of art, design and games at Noroff University in Norway, Paris 1 Panthéon-Sorbonne University, Parsons New School in Paris and Sciences Po in Reims.

During his doctoral research entitled Experience and Meaning-making Process in Interactive Arts – The influence of play and aesthetic distance in interactive art encounters (UT Austin Portugal, FEUP, University of Porto), Filipe was interested by the aesthetics of play in art experience. After this, he worked as a post-doctoral researcher in the project The Behavior of Things (EnsadLab and University Paris 8) exploring the notion of behavior in objects. He was also a student of SPEAP, a Master of Arts and Politics conducted by Bruno Latour and Valérie Pihet at Sciences Po, Paris.

In the last years he curated the exhibitions Playmode (Maat, Lisbon, 2019), From Bits to Paper (Le Shadok, Strasbourg, 2016) and Re-enter Lisbon (CPAI, Lisbon, 2012). His artworks have been featured in several art festivals and events in Portugal and abroad.



• Pais, F. (2018). From Bits to Paper, Art Book Magazine, Paris.

• Pais, F. (2018). Le Retour des Objets, Quasi Objets et Super-objets. éd. Fondation Calouste Gulbenkian — Délégation en France, Paris, 2018.

Emanuele Quinz (PhD)

Emanuele Quinz is an art historian and curator, PhD, Professor at Paris 8 University and at École nationale supérieure des Arts Décoratifs (EnsAD), Paris. Among his numerous editorial projects, he edited Du corps à l’avatar (anomos, 2000), La scena digitale. Nuovi media per la danza (with A. Menicacci, Marsilio, 2001), Digital Performance (anomos, 2002), Interfaces (anomos-Hyx, 2003), MilleSuoni (with R.Paci Dalò, Cronopio 2006), Strange Design (with J.Dautrey, it: éditions:It). His research focuses on contemporary art theories and practices crossing disciplines, like visual, media and performing arts, music and design. As a free-lance curator, he curated the international exhibitions Invisibile (Siena, Palazzo delle Papesse, 2004), and with L. Marchetti, Experience Design (Bolzano, 2005), Dysfashional (Luxembourg 2007, Lausanne 2008, Paris 2009, Berlin, Moscow 2010, Jakarta 2011), Basic Instincts (Berlin, 2011, Arnhem, Shenzhen 2012).

Francesco Sebregondi (PhD)

Francesco Sebregondi is an architect and a researcher, whose work explores the intersections of violence, technology, and the urban condition. Since 2011, he is a Researcher and Project Coordinator at the independent research agency Forensic Architecture, as well as the co-editor of its first collective publication Forensis: The Architecture of Public Truth (Sternberg Press, 2014). In 2020 he completed his PhD at the Centre for Research Architecture, Goldsmiths University of London, where his research examined the architecture of the Gaza blockade. In 2017, he was a participant in The New Normal speculative design programme at Strelka Institute in Moscow. Since 2017, he is also a Research Fellow at UCL’s Centre for Blockchain Technology. Francesco’s writings have been published in journals such as the Architectural Review, Volume, Footprint, the Avery Review, or City, as well as in a number of edited volumes. He teaches design at Parsons Paris and the School of Architecture, Royal College of Art in London, where he is guest-curating the 2019/20 International Lecture Series. He has been invited to deliver talks and workshops in many international venues, and his work with Forensic Architecture has been widely exhibited worldwide. In 2019, in collaboration with queer theorist Jasbir K. Puar, he developed a major exhibition project titled “Future Lives of Return” for the inaugural edition of the  Sharjah Architecture Triennial. He lives and works between Paris and London.