This publication presents the architectural project of Adelfo Scaranello for the Musée des beaux-arts et d’archéologie de Besançon, which reopened in 2018. “From the outset, says Scaranello, one thing was clear: the convictions with which the architects Pierre Marnotte (1797- 1882) and Louis Miquel (1913-1986) had worked successively on this construction had gradually disappeared. […] Restoring the integrity of these architectures within a new project is not about historising but is a way of transforming the links between these two figures.” This 2nd volume shows the scenography of the Museum. Typeset in a modified version of GF Montserrat (OFL).
Photos by Nicolas Waltefaugle & Yohan Zerdoun. 56 p.

This publication presents the architectural project of Adelfo Scaranello for the Musée des beaux-arts et d’archéologie de Besançon, which reopened in 2018. “From the outset, says Scaranello, one thing was clear: the convictions with which the architects Pierre Marnotte (1797- 1882) and Louis Miquel (1913-1986) had worked successively on this construction had gradually disappeared. […] Restoring the integrity of these architectures within a new project is not about historising but is a way of transforming the links between these two figures.” This 1st volume shows the museum empty spaces, during the construction. Typeset in a modified version of GF Montserrat (OFL).
Photos by Nicolas Waltefaugle & Yohan Zerdoun. 56 p.

Booklet of the exhibition « De Vesontio à Besançon, la ville s’expose ». Collectif Territoires, avec Nicolas Bardey, Maud Buergo, Christophe Gaudard, Pascaline Minella, Yves Morel, Agences Territoires.

Visual identity, scenography and communication of the exhibition « De Vesontio à Besançon, la ville s’expose ».

Curation and scenography, with Alice Savoie, of the exhibition “TYPO’&!.,-:;? ANRT” at the Musée de l'imprimerie et de la communication graphique, in Lyon, presenting 30 years of ANRT archives. Nov 11, 2016 - Feb. 12, 2017.

Scenography of the exhibition “Histoires d’imprimeurs en Champagne Ardenne” (30 June – 18 Oct. 2018) at the Médiathèque de l’Agglomeration Troyenne. Typeset in Jannon, by František Štorm, a revival of Jean Jannon types, cut in Sedan (in Champagne-Ardennes) in the 17th Century.

Born in Russia, André Pavlovski (1891-1961) brought modernism to basque architecture in the 1930s. For its first publication, I proposed to Kantia editor, based in Saint-Jean-de-Luz (in a beautiful Pavlovski house) to imagine a series of poster inspired by his most emblematic work, the Harbor Lights of the city. Two asymetrical towers, on both sides of the port, one in white and red (Saint-Jean) the other in white and green (Ciboure). I studied Pavlovsky architecural vocabulary, made of flat asymetrical surfaces and geometry, and proposed a complex graphic system to produce a series of posters. 4 compositions present one view of Saint-Jean, one of Ciboure, and two of both harbor lights, in 3 colors : Blue, Red and Green. Blue defines the sky and the silhouettes of the buildings : printed in split fountain, it evolves from dawn to dusk. The composition allows green and red colors to be combined upside up and upside down, to reveal several views of the harbors, and create imaginary ones. In one single print-run, 168 different posters were produced with Lézard Graphique, in Brumath. Some posters are still available at www.kantia.eu. 26 posters of the series were presented at the Rotonde, a beautiful circular gallery by Robert Mallet-Stevens in Saint-Jean de Luz, in Spring 2013.

Identity and scenography of the exhibition “Murs et Merveilles”, on ancient and contemporary wallpapers. Musée Départemental des arts et traditions populaires Albert et Félicie Demard de Champlitte. In collaboration with Small Studio