BAUER T.A.Z. is a real and situated space that invites attention to what we imagine before we even want to generate it. 
It is a device of prior knowledge, a shared exercise and practice that is activated in the exchange between bodies, ideas and imaginaries. A marketplace of ideas, a portable cinema, a cultural micro-rave, a situation and a demonstration. Everything that happens here is conceived and realized as an autarkic and autonomous solution. From June 17, in the Wisteria Cloister, Bauer and Società Umanitaria present an installation that brings together a selection of visual, graphic and photographic projects, films, videos and editorials, conceived between 2024 and 2025 by Bauer students and offered for the first time in a public context in a novel format.

WIP is an experimental archive collecting behind-the-scenes images from the exhibitions of Triennale Milano, spanning from 1933 to the present day. Drawing from the official historical archive, the project brings together a curated selection of photographs that reveal the often unseen process behind each exhibition: construction sites, empty halls, assembly phases, technical details, and the people who make it all possible. By shifting the focus away from the final exhibition, WIP highlights the people and the process that often remain out of view: the architects, technicians, craftsmen, and workers who turn ideas into real spaces.

Larmenius is a typeface inspired by the sharp, angular aesthetics of medieval weaponry—particularly the iconic geometry of Templar swords. Rooted in the structure of Times New Roman, it transforms the classic serif model into something far more aggressive and expressive. One of its defining features is the deliberate exaggeration of the serifs, which become sculptural elements that evoke both ornament and edge, amplifying the tension and drama within each letterform. This type specimen explores the visual language of the Middle Ages by juxtaposing traditional and contemporary medieval iconography. The exaggerated serifs serve not only as historical references but also as bold graphic statements, reinforcing the typeface’s symbolic weight. Larmenius balances historic resonance with modern attitude, showcasing its adaptability across a wide range of visual contexts while maintaining a strong, iconic identity.

Brainrot is a term that ironically describes the cognitive decline caused by constant exposure to low-quality, repetitive content — especially on social media. It reflects a culture of visual overload, where we become passive consumers, losing the ability to discern meaning from noise. AUTOMA is not a solution or a moral guide, but a visual archive that mixes irony and critique. It explores a world where identity is simulated, art is commodified, and reality blurs into digital excess. This work invites the viewer to pause, reflect, and question what remains human in an increasingly automated, image-driven world

Visual research on the use of shapes extracted from photos. As an end result, I obtain various outputs such as, for example, animations whose frames derived from them are in turn used as the final processing. The focus in this visual research lies in realizing just how certain elements overlapped, processed and distorted manage to give birth to something new. What is derived from the main animation has two main applications: one is very fast and plays a lot on colors, the other is applied on a video shot in a CGI environment.From both, then, you can get a variety of artwork, which as mentioned earlier can be re-processed and decontextualized to get even more.

A project born in a photographic laboratory as an exploration of the relationship between image and sound. In the darkroom, an eidophone translates sound vibrations into visual patterns that the photographs render as material traces. The book accompanies this experimental documentation with a series of texts which offers an overview of the relationship between images, acoustic frequencies and the soundscape of the contemporary world.

This project explores the potential of visual transformation through the abstraction of shapes extracted from photographic material. The primary focus lies in observing how elements—when overlapped, distorted, and recontextualized—can evolve into entirely new visual languages.
The process culminates in multiple outcomes, including animations whose individual frames are further processed and repurposed as standalone visuals. Two primary applications emerge from the main animation: the first emphasizes rapid rhythm and vibrant color play, while the second is integrated into a CGI-rendered video environment. From both approaches, a diverse range of visuals can be derived—pieces that can be further refined, deconstructed, and reassembled to generate new iterations of the original material.

Poster designed for an initiative by Collettivo_Sc4 and exhibited at SUPSI, Mendrisio. The concept draws inspiration from the myth of the Tacita Dea, an ancient Roman goddess who symbolizes mute expression. This theme is expressed through both content and form.
The central image features the letter "H," chosen for its silent role in the Latin alphabet and its reference to "Acca," one of the epithets associated with the goddess. Initially hand-painted, the form was then deliberately deconstructed, emphasizing the tension between structure and disappearance — silence and expression.

This 3D rendering depicts a surreal metallic structure emerging from water, mimicking organic growth. Set in an icy, remote environment reminiscent of the polar regions, the structure is composed of intricate, interwoven steel elements. Soft, internal illumination adds an ethereal, almost otherworldly atmosphere. The scene is punctuated by aerial laser beams, introducing a narrative tension that blurs the line between natural and artificial, organic and mechanical.

One of my earliest experiments in 3D modeling, this project seeks to evoke the ambience of a distant utopia. Angular yet organic forms define a landscape shrouded in mystery and allure. The render invites the viewer to imagine what might exist beyond the visible, aiming to stimulate curiosity through minimal narration and evocative spatial composition.

Developed as part of a school assignment, this poster was designed for a speculative exhibition dedicated to Alexander Calder. After extensive visual experimentation, I focused on 'La Grande Vitesse', one of Calder's most iconic sculptures, located in Grand Rapids, Michigan. Restricting the palette to black and white, I extracted and integrated the sculpture’s silhouette into the layout, using it as a structural element in the background. The design pays tribute to Calder’s dynamic compositions while maintaining visual clarity and modern restraint.

This project involved designing and prototyping a handmade cover for a hypothetical book about Ludwig Mies van der Rohe. The brief asked for a visual interpretation of his iconic philosophy, "Less is More." I opted for a minimalist layout, guided by spatial balance and material simplicity. The final result was not only conceptual but also tactile—a physical prototype that could serve as a presentational tool for future editorial development.

Conceived for the PRINT4ALL fair, this poster explores the theme of "the future" through a conceptual and visual lens. Starting from the scientific definition of the term, I developed a custom typography to obscure the text, rendering it illegible. This act of concealment serves as a metaphor: the future, despite our efforts to define it, remains inherently unknowable and beyond human control. To further support this concept, I included three keywords that—personally—capture the essence of what the future represents