An identity studio, a fit-out contractor, a health centre, a hotel-restaurant, a property developer, a software publisher, a manufacturer, a professional firm, a local authority: nine houses that do not exist, each with its public page, its palette, its written voice and its own way of saying what it does. They open for real and can be handled. Invented brands and data, stated as such — what is judged here is how they hold.
It sells a discipline rather than a logo: three convictions that are expensive to hold, three pieces of work and the making constraint each had to absorb.
Who it is forCreative studios, image agencies, independents who sell a method rather than a moodboard.
HTML · CSS · SVG · JavaScript sans dépendance · bilingue · deux régimes
designed on 6 September 2026
It speaks the trade, not the brochure: six packages with their real trap, three sites with their difficulty, four commitments checkable during the works.
Who it is forContractors, trades and subcontractors who want to be judged on their method.
HTML · CSS · SVG · JavaScript sans dépendance · bilingue · deux régimes
designed on 6 September 2026
It shows the scheme in isometric, the four layouts with their plans, the six dated milestones — and says that reserving starts with being able to walk away.
Who it is forDevelopers, land promoters and housing bodies marketing a scheme.
HTML · CSS · SVG · JavaScript sans dépendance · bilingue · deux régimes
designed on 6 September 2026
It sells three moments rather than a list of amenities, shows each room with its plan and its owned-up flaws, and displays the nights actually free.
Who it is forCharacter hotels, guest houses, restaurants and shops that sell an experience.
HTML · CSS · SVG · JavaScript sans dépendance · bilingue · deux régimes
designed on 6 September 2026
It shows the wait actually observed for each specialty, including the longest, presents the team by role without naming anyone, and writes down once and for all what people ask on the phone.
Who it is forHealth centres, group practices, care centres and grouped professionals.
HTML · CSS · SVG · JavaScript sans dépendance · bilingue · deux régimes
designed on 6 September 2026
Shows companies what the authority is about to build before the notice is published: ongoing projects, the next twelve months of tenders, and how to become a supplier.
Who it is forAn authority that wants local firms to bid, not only those who watch the notices.
HTML · CSS · SVG · JavaScript sans dépendance · bilingue · deux régimes
designed on 6 September 2026
Publishes its machine capabilities with their stated limits, and lets the visitor check for themselves whether their part fits the shop — or exceeds it.
Who it is forAn industrial subcontractor who wants to be asked about the right parts, and only those.
HTML · CSS · SVG · JavaScript sans dépendance · bilingue · deux régimes
designed on 6 September 2026
Sells a checkable promise rather than a posture: knowing what the rule said on the day of the transaction — and stating upfront the three engagements the firm turns down.
Who it is forAn independent firm that wants to be chosen on its method, without quoting fees.
HTML · CSS · SVG · JavaScript sans dépendance · bilingue · deux régimes
designed on 6 September 2026
Puts the product in the hero: a drawn interface where the 70% alert threshold crosses every bar, and a trial offer that replays the visitor's own last three months.
Who it is forA publisher selling to support and operations teams, who must be understood in ten seconds.
HTML · CSS · SVG · JavaScript sans dépendance · bilingue · deux régimes
designed on 6 September 2026
Each piece opens full size, exactly as it runs; the live models are driven by hand.
A direction is chosen on evidence: the same screen in several palettes, the board that set ours, and the two tracks explored then dropped — they are here because they helped choose the other. Alongside, the same method applied to time: twelve breakdown frames and an edit of cards, to settle a film before producing it.
“Hundreds of thousands of contracts. Every year.” — the opening film as an HTML animatic: cards, pacing, fades, before any image.
Who it is forA brand film to be approved on its edit before it is produced.
designed on 20 July 2026
The six layer colours, each on its dark ground, and the type treatments: the board that set the art direction.
Who it is forA team that needs a written direction before drawing a screen.
designed on 26 June 2026
Twelve frames, one shot per frame: the beacon, the signal, the map, the counter, the decision. The film told before it exists.
Who it is forA brand film decided at the breakdown.
designed on 20 July 2026
Each piece opens full size, exactly as it runs; the live models are driven by hand.
A model is only worth what it holds outside the mock-up it was born in. This is where it is decided what enters the library, what stays out, and under which rule a screen drawn later, by someone else, still reads as yours.
Design systemVillas, collective housing, a subdivision, a place of worship: for each, the same geometry rendered by day and by night, in base then validated variants. The client chooses on images, not on promises. No client name, no site name.
Villas, collective housing, a subdivision, a place of worship: for each, the same geometry rendered by day and by night, in base then validated variants — the client chooses on images, not on promises. Hover a card to switch to night.
Residential programme of 150 terraced villas on two and three levels, two façade treatments, roads and planted areas.
3D modelling of the programme, two façade variants, street and overall views, day and night versions — validated with the client on images, before any permit drawing.
Collective housing on four levels around a courtyard, corner tower, ground-floor shops, parking at the heart of the block.
Aerial view, street-level views, detail of the corner tower, sky view of the site plan — the same geometry in day, night and texture versions, to settle materials and colours without waiting for the site.
Semi-detached villas on two levels, arcades and arched openings, aligned along a waterfront; forecourt, parking and gardens.
Aerial overall views by day and by night, main, rear and side façades, variants with garden and boundary wall — twenty views for a single programme, because a villa sells on every face.
Three single-family houses for private clients: two contemporary treatments, one in stone; exteriors and interiors.
Day and night façades, figures for scale, and the interiors — kitchens and living rooms in three wood tones — to choose on image what cannot be corrected afterwards.
Layout plan of a subdivision — plots, roads, green spaces, legend — and its five-level buildings seen from the street, by day, by night and at dusk.
From the layout plan to the mood image: the same project read by the developer, on the plan, and by the buyer, from the street.
Minaret, prayer hall, crenellated enclosure and gate; planted forecourt.
Four viewpoints, in base then optimised versions, by day and by night — materials and lighting settled on image before the site opens.
Portfolio closed on 21/09/2026. Renders produced by the firm; references presented without client or site name, out of respect for confidentiality and GDPR.
Six residential programmes rendered in three dimensions before the first ground was broken, an animated identity written in code, a configurator that shows the real rendering before development: what we designed, what it produced, and what was hard.
TRACK RECORD · REAL ASSIGNMENTS, NAMES WITHHELD
Brand and product teams that settle a visual direction on screenshots, then discover in development that the real rendering does not match.
When · Summer 2026, live.
What we did
We built a configurator that recomposes an entire interface live — typography, palette, density, corner radii, stroke weights — in the very code that ships to production. What is settled on screen is what is delivered: there is no translation step between the mock-up and the product.
What it produced
A single scene, mounted by the public page and by its reduced preview without being duplicated, and an exportable brief carrying the settings chosen.
What was hard
A configurator that lives beside the product ends up lying. This one shares its components with the site: the day a component changes, the demonstration changes with it — or it stops compiling, which is exactly the intended behaviour.
Clients on residential programmes — a hundred and fifty terraced villas, a hundred and eighty-three collective housing units, a subdivision, private villas — and a place of worship.
When · Programmes predating 2026; views republished under neutral names in September 2026.
What we did
We modelled the programmes from the drawings, produced two façade treatments where a choice had to be made, and delivered street views, overall views and sky views — each in a day and a night version — so that materials, colours and siting could be settled on image, before any permit drawing.
What it produced
Six programmes, sixty-eight published views, the same geometry in day, night and texture versions. The manifest linking each file to its source stays internal and is never served.
What was hard
A developer sells off-plan and has nothing to film. So they must be shown what does not exist yet, without flattery: the same light the site will have, a passer-by's eye height, and the night view — because it is the night view that exposes a badly proportioned façade.
Our own house, then the same principle taken up for brands that apply their mark across screens of every size.
When · 2026, in service on the site and in the films.
What we did
We drew the house's mark and animated it in code rather than in an image file: the outline is traced, the left face rises, then the right, then the ridge and the summit. The timing of that gesture is written once and replayed identically by the screen and by the film.
What it produced
An identity crisp at any size, from favicon to full page, animated without a video file, and a single timing sheet that governs both the screen and the end credits.
What was hard
An identity delivered as image files degrades at every size and, above all, it drifts: the site's version and the film's version end up not being the same brand. Written in code, the sheet is unique — when it changes, both change together.
No client name is published, with or without their consent. We publish no win rate: it is not measured, and an unmeasured figure is not a reference.
Change format, language or channel: the variant composes, retains lineage and blocks what rights do not allow.
We turn identity into a production system, not a collection of mock-ups. The master defines position, composition rules, variable elements, controls and rights that let the team produce without diluting the brand.
The executive sees what remains canonical, what may vary and what requires validation. Every adaptation retains its link to the master, language, channel and owner.
Master → rules → components → variant → approval
The specialist opens the production graph: tokens, components, content, safe zones, export constraints, languages, rights and checks. An amended rule marks every potentially affected variant without silently rewriting it.
The factory separates authorised variation, exception requiring approval and blocked use. An asset without rights, date or territory remains N.F. and does not enter the export. The catalogue renders the rule before the effect.
Foundations and primitive tokens: colours, dimensions, font families, weights, radii, spacing, durations and curves — a value is named by its nature before it is assigned a use.
Semantic tokens: intent is expressed (text.primary, surface.emphasis, space.section) rather than medium, so a theme or context can change without rewriting components.
Aliases, references and resolution: a semantic token connects to a foundation; circular references are detected and the resolved value is displayed with its provenance.
Composite tokens: properties that travel together — typography, border, shadow, gradient, transition — stay documented rather than locked into an opaque style.
Grid, vertical rhythm and type scale: columns, gutters, margins, baseline, leading and hierarchy levels are tested against actual density, not an ideal specimen.
Component anatomy, slots and properties: mandatory structure, injected content, variants, sizes, densities and states are distinguished within a matrix of allowed combinations.
Interaction states: default, hover, visible focus, active, selected, loading, empty, error, disabled and success each keep a label or sign distinct from colour alone.
Responsive constraints and intrinsic layout: content-driven thresholds, reflow, min/max, stacking priorities, safe areas and truncation are tested against extremes before the median case.
Internationalisation and expansion: long copy, unbreakable words, reading direction, punctuation, number/date formats and editorial variants — no template relies on French copy happening to be the right length.
Design accessibility: text and component contrast, focus appearance, target size, text alternatives, reading order and keyboard equivalent, each criterion linked to its component.
Templates, regions and composition rules: locked regions, editable fields, conditional content, alignment rules, length limits, image ratios and channel variants stay separated.
Versioning, deprecation and migration: owner, draft/adopted/deprecated status, change log, dependents, replacement, migration window and regression control accompany every token.
The factory makes the rule, impact radius and rights status visible; it replaces neither expert review (contrast, accessibility) nor user testing, and cannot lift a block on an asset whose rights, date or territory remain N.F.
Four questions we ask on every file in this domain. Each comes from an incident someone paid for — us, or a client before us.
We deliver tokens — colours, typefaces, spacing —, named components and their rules of use: a system your teams extend without us. Luxury through restraint: fewer patterns, better held.
If nobody asks it — A magnificent website on delivery day, unrecognisable six months later.
Anything containing readable text goes through code, never through an image generator: an AI produces shapes that look like letters. Logos, figures, titles and captions are coded.
If nobody asks it — A fifteen-second spot with an unreadable slogan.
Every colour is defined in both regimes, the background is painted explicitly, and contrast is measured on screen — not assumed from the style guide.
If nobody asks it — Gold text perfect on black, unreadable on paper.
A mediocre visual delivered without warning costs more than no visual at all: it becomes the benchmark of what we can do. We say beforehand what we cannot produce at that level.
If nobody asks it — An average mock-up that becomes the brand's standard.
A file rarely draws on a single discipline.