Strategy
Journey maps, user profiles with their problems, likes and opportunities, and Business Model and Value Model canvases.
CuriosityDiscernmentIngenuityConviction
Understand what matters.Build it all the way through.
Curiosity drives my work, from understanding people through UX research to exploring ideas through code. That same drive led me to build my own fab lab—a place to experiment, prototype, and learn by making. The most rewarding part is turning a new understanding into something tangible and useful.
My story
🌍 Born in Brazil. Raised in Switzerland by a Swiss parent and a French parent. And always curious about what was happening beyond the Swiss borders.
Switzerland was my Shire. I was the hobbit who didn’t need much convincing to leave. 🎒
New cultures, unfamiliar languages, new technologies… I wanted to explore them, understand them, and eventually build things of my own.
That curiosity took me from graphic design and typography into Product Design and Frontend Engineering. Designing something made me want to understand how it worked. Learning to code gave me another way to question it, test it and take it further.
🔤 Typography is still part of my everyday life. At LO-OL, the studio I co-founded with my Korean wife, Noheul, we work between Latin and Korean scripts. There’s always another way of seeing a familiar shape.
🧠 Neuroscience has a more personal place in that journey. Both my parents lived with neurological conditions, and I lost my father to ALS. Building tools for researchers gave me a way to contribute through the work I know.
Today, I’m still happiest learning something unfamiliar, exchanging perspectives and turning an idea into something people can use.
Still a hobbit. Still looking beyond the Shire.
Product designer and frontend engineer
I design products where uses, disciplines and technology get complex. I connect research, strategy, design, AI and development into a shared product vision, and I carry it all the way to production.
01
What I do
Keep the complexity that matters. Structure it. Remove the rest.
Where complexity lives
My work starts before the interface: understanding a domain well enough to decide which complexity to keep, structure or remove.
- Science
Some data, distinctions and practices are essential. Design has to make that complexity usable without impoverishing the science.
- Open Brain Platform
- Nexus Fusion
- Swiss Brain Observatory
- Civic and local services
A local platform has to give people a daily reason to use it, starting from their needs rather than the institution's.
- PartOf
- Business and creative tools
A product's structure should match how people actually work, instead of forcing them into a generic model.
- LO-OL
- TypeAround
- Minas
- Typical situations
Expert users with very different needs in one platform Features requested with contradictory logics Products shaped by their technical history rather than their use Fragmented workflows, data or tools Interfaces too heavy to understand or adopt A gap between design intent and the shipped product
02
How I work
From strategy to code, the same thread: understand first, then make it tangible.
My process
UX plan
Stakeholder meetings, shared hypotheses, a research map of what to learn and what stays out of scope, and a common base of existing data.
User research
One-to-one interviews, co-created prototypes, card sorting, surveys, field observation, and quantitative analysis, manual or AI-assisted.
UX
Wireframes and low-fidelity prototypes, then interactive mid- and high-fidelity prototypes, with accessibility and a shared vocabulary throughout.
UI and development
Product screens, type systems, iconography, design systems, micro-interactions and motion, then frontend in React, Vue, Svelte or plain JavaScript, and backends when needed.
Branding
Typefaces, brand guidelines, and digital guidelines covering iconography, photography, typography and motion.
03
Why it works
Curiosity about people, rigour about the product.
Depth, then delivery
I go deep into the domain, the uses and the technical constraints, until I can question the product itself. Then I turn that understanding into concrete decisions through research, prototyping, design and implementation. Scientific platforms taught me to preserve useful complexity; writing frontend code lets me follow its consequences all the way into the shipped product.
Side Projects
01Printing and calligraphy
Beyond the screen, I have spent years working with my hands. In 2010, I built a small silkscreen printing workshop and began exploring different printing techniques. Calligraphy became a foundation for much of that work. I created large-format prints, built custom tools to shape letters by hand, and pushed typography beyond the flat surface of the page. What mattered was not only the final form, but the physical act of making.
02Letters in three dimensions
That search gradually moved into materials and space. Over the years, I have worked with CNC machines, wood, concrete, and ceramics to turn letters into three-dimensional objects. I like the tension between precision and imperfection — between structure and gesture. Alongside these larger pieces, I also carve manually into rubber, wax, and wood, producing lettering, illustrations, and engraved forms that carry the trace of the hand.
03Tools for other designers
Typography also led me toward building tools for others. I launched a platform called TypeAround to help Korean type foundries and independent designers create online stores and interactive spaces to showcase and test their typefaces. More than sixteen studios joined the platform, and it continues to grow through new features, collaborations, and contributions from independent designers.
04Home FabLab
At home, I run a small fab lab: three 3D printers, two laser cutters, a traditional printing press, two silkscreen tables, a vinyl cutter, two pen plotters, woodworking tools, and silicone and epoxy moulding. It is where ideas become objects: I prototype, cut, print, plot and cast, and build the tools I need along the way.
Side Projects
01Printing and calligraphy
Beyond the screen, I have spent years working with my hands. In 2010, I built a small silkscreen printing workshop and began exploring different printing techniques. Calligraphy became a foundation for much of that work. I created large-format prints, built custom tools to shape letters by hand, and pushed typography beyond the flat surface of the page. What mattered was not only the final form, but the physical act of making.
02Letters in three dimensions
That search gradually moved into materials and space. Over the years, I have worked with CNC machines, wood, concrete, and ceramics to turn letters into three-dimensional objects. I like the tension between precision and imperfection — between structure and gesture. Alongside these larger pieces, I also carve manually into rubber, wax, and wood, producing lettering, illustrations, and engraved forms that carry the trace of the hand.
03Tools for other designers
Typography also led me toward building tools for others. I launched a platform called TypeAround to help Korean type foundries and independent designers create online stores and interactive spaces to showcase and test their typefaces. More than sixteen studios joined the platform, and it continues to grow through new features, collaborations, and contributions from independent designers.
04Home FabLab
At home, I run a small fab lab: three 3D printers, two laser cutters, a traditional printing press, two silkscreen tables, a vinyl cutter, two pen plotters, woodworking tools, and silicone and epoxy moulding. It is where ideas become objects: I prototype, cut, print, plot and cast, and build the tools I need along the way.