Artificial Cities compose an imaginary geography of abandoned cities, ruined monuments, and architectures whose origins and functions seem to have been lost. These landscapes recall the architectural capricci of Francesco Guardi, the ruins of Hubert Robert, and the visionary architectures of Piranesi. In each of these representations, architecture breaks free from its historical reality to become a space of mental projection. Like architectural capricci, these images bring together fragments of different places and eras within spaces that have never existed. The ruins do not necessarily bear witness to a past catastrophe: they seem to belong to a suspended world, where civilizations succeed one another, disappear, and are endlessly reborn. The past sometimes takes on the appearance of a distant future, as though time had ceased to follow a single direction. These imaginary cities thus maintain an ambiguous relationship with utopia. They depict impossible places, situated outside history, which may evoke both the remnants of a lost paradise and the promise of a world yet to come. The ruin is no longer merely a sign of disappearance, but also of possible rebirth. It simultaneously contains the memory of what once was and the possibility of what might still emerge. Artificial Cities thus appear as fragments of a mythology without a definite origin. Places that seem to have always existed, destined to disappear and reappear, in a movement reminiscent of the myth of eternal return. Not the remnants of a world irretrievably lost, but images of a world that never ceases to begin again.

Artificial Cities compose an imaginary geography of abandoned cities, ruined monuments, and architectures whose origins and functions seem to have been lost. These landscapes recall the architectural capricci of Francesco Guardi, the ruins of Hubert Robert, and the visionary architectures of Piranesi. In each of these representations, architecture breaks free from its historical reality to become a space of mental projection. Like architectural capricci, these images bring together fragments of different places and eras within spaces that have never existed. The ruins do not necessarily bear witness to a past catastrophe: they seem to belong to a suspended world, where civilizations succeed one another, disappear, and are endlessly reborn. The past sometimes takes on the appearance of a distant future, as though time had ceased to follow a single direction. These imaginary cities thus maintain an ambiguous relationship with utopia. They depict impossible places, situated outside history, which may evoke both the remnants of a lost paradise and the promise of a world yet to come. The ruin is no longer merely a sign of disappearance, but also of possible rebirth. It simultaneously contains the memory of what once was and the possibility of what might still emerge. Artificial Cities thus appear as fragments of a mythology without a definite origin. Places that seem to have always existed, destined to disappear and reappear, in a movement reminiscent of the myth of eternal return. Not the remnants of a world irretrievably lost, but images of a world that never ceases to begin again.

Artificial Cities compose an imaginary geography of abandoned cities, ruined monuments, and architectures whose origins and functions seem to have been lost. These landscapes recall the architectural capricci of Francesco Guardi, the ruins of Hubert Robert, and the visionary architectures of Piranesi. In each of these representations, architecture breaks free from its historical reality to become a space of mental projection. Like architectural capricci, these images bring together fragments of different places and eras within spaces that have never existed. The ruins do not necessarily bear witness to a past catastrophe: they seem to belong to a suspended world, where civilizations succeed one another, disappear, and are endlessly reborn. The past sometimes takes on the appearance of a distant future, as though time had ceased to follow a single direction. These imaginary cities thus maintain an ambiguous relationship with utopia. They depict impossible places, situated outside history, which may evoke both the remnants of a lost paradise and the promise of a world yet to come. The ruin is no longer merely a sign of disappearance, but also of possible rebirth. It simultaneously contains the memory of what once was and the possibility of what might still emerge. Artificial Cities thus appear as fragments of a mythology without a definite origin. Places that seem to have always existed, destined to disappear and reappear, in a movement reminiscent of the myth of eternal return. Not the remnants of a world irretrievably lost, but images of a world that never ceases to begin again.

Artificial Cities compose an imaginary geography of abandoned cities, ruined monuments, and architectures whose origins and functions seem to have been lost. These landscapes recall the architectural capricci of Francesco Guardi, the ruins of Hubert Robert, and the visionary architectures of Piranesi. In each of these representations, architecture breaks free from its historical reality to become a space of mental projection. Like architectural capricci, these images bring together fragments of different places and eras within spaces that have never existed. The ruins do not necessarily bear witness to a past catastrophe: they seem to belong to a suspended world, where civilizations succeed one another, disappear, and are endlessly reborn. The past sometimes takes on the appearance of a distant future, as though time had ceased to follow a single direction. These imaginary cities thus maintain an ambiguous relationship with utopia. They depict impossible places, situated outside history, which may evoke both the remnants of a lost paradise and the promise of a world yet to come. The ruin is no longer merely a sign of disappearance, but also of possible rebirth. It simultaneously contains the memory of what once was and the possibility of what might still emerge. Artificial Cities thus appear as fragments of a mythology without a definite origin. Places that seem to have always existed, destined to disappear and reappear, in a movement reminiscent of the myth of eternal return. Not the remnants of a world irretrievably lost, but images of a world that never ceases to begin again.