Kissing Towers stages a collision between two fragmented glass façades, fragments of towers never meant to meet. Their intersection leaves a void: not a passage, but the gesture toward one, suggesting the possibility of connection while remaining permanently out of reach. Glass holds both towers open to view. A spiral staircase ascends toward nothing. A sectioned bathroom sits exposed, a bathtub filled with water, a phone dropped inside.

Formation_01 condenses the essential elements of a rehearsal studio into a single freestanding spatial installation. A mirrored wall, sprung wooden floor, integrated lighting, and sound system are assembled into an architectural object that functions simultaneously as stage, rehearsal space, and scenography. Activated through movement, the work dissolves the distinction between rehearsal and performance.

Stage_01 is a temporary performance structure generated from the intersection of two circles, each tilted towards the ground. Their overlap forms the DJ booth, placing the performer at the centre of the audience rather than at its edge. Built entirely from standard scaffolding components, the structure leaves its construction fully exposed. The stepped geometry unfolds into seating, standing room, circulation, and viewing platforms, allowing the audience to occupy the stage from multiple sides.

Restaged as the set for Man About Town's Spring/Summer 2024 fashion editorial, the installation performs the image of luxury it was originally created to question. Reframed through photography, it shifts from an installation to a constructed image, revealing how critique becomes spectacle—and vice versa.

Visiting the Osaka World Expo is a visual travelogue and critical reading of Expo 2025 on Yumeshima, Japanese for "Island of Dreams." Combining photography, field notes, and essays, the publication documents the emotional temperature of one of the world's largest spectacles. Together with photographer Noam Levinger, WEINBENAMI approaches the Expo not as visitors alone, but as close observers of the stories nations choose to tell about themselves. The result is both a travelogue and a record of how futures are staged in the present. Published by MER Books, Ghent, 2026.

Here for the Night brings a fragment of a hotel and three subway wagons into the same space. Two realities occupy a single position without replacing one another. Rather than collapsing into one image, both remain legible at once. The work proposes a state of spatial superposition, asking what happens when architecture no longer commits to a single reality.

A Superyacht Encounter is a 1:1 fragment of a superyacht deck, tilted off balance: a pool edge, a sunbed, and a flag flying the colours of the Cayman Islands. From a distance, the surface appears flawless—polished teak, mosaic tile, chrome. The illusion runs only 5 mm deep. Beneath it, a raw plywood structure holds the entire construction together. Built entirely by hand, the fragment deliberately rests off its axis, unsettling the stability a superyacht is designed to project. What appears to be luxury reveals itself as construction.

The cinema hall was built on a single certainty: an audience, gathered, facing one screen. Reserved Seating disturbs that certainty, isolating a fragment of that architecture and setting it loose. Suspended, rotating, unmoored from the room it once belonged to.  That certainty no longer holds. The audience has scattered, watching alone what was once watched together. Anyone can now produce an image, gather a public, become, briefly, the thing being watched. What remains of an architecture built for an audience that no longer needs a room, and a spectacle that no longer needs a stage?

Portable Us grew out of a week spent living inside airports, shortly before the Covid-19 pandemic brought global travel to a halt. Hand-cut from 1 mm PVC sheets and embedded within a circular plaster wall, the installation reconstructs a section of an airplane cabin. Both recognisable and strangely unreal, it reduces one of the defining spaces of contemporary mobility to an architectural fragment, suspended between movement and stillness.

TAKEOFF transforms an attic into an aircraft-inspired environment built from original airplane components. Visitors move through mirrored spaces where repeated reflections multiply both the architecture and themselves, becoming part of the installation's staged reality. A real flight carries the body across time zones while remaining seated. TAKEOFF recreates that condition without offering a destination, suspending its visitors somewhere between departure and arrival. Commissioned by JLM Design Week.

The Privacy Cabins were developed for Challenge Airlines alongside The Simulator Shell, adapting the spatial language of the studio's earlier installation TAKEOFF to the workplace. Original airplane seats and window panels dissolve into mirrored interiors, while a stretched-fabric ceiling creates a synthetic sky overhead. Set within the office, the cabins provide space for private calls, focused work, or a moment away from the surrounding environment. Commissioned by Challenge Airlines.

ENCOUNTERS: The Superyacht Issue is a 121-page publication disguised as a lifestyle magazine. Through essays, photographs, drawings, and fiction, it follows the superyacht as both an object and an image: produced by cinema, social media, advertising, and the yachting industry itself. The publication begins with the studio's encounter in Ibiza, moves through a fictional narrative, and concludes with an infiltration of the Monaco Yacht Show. Together, these fragments trace how luxury is constructed, circulated, and consumed.

The animation film takes the form of a luxury promotional video, only for the illusion to gradually come apart. Moving through a deconstructed superyacht divided into seven modules, the film exposes the machinery behind one of today's most powerful status symbols. Seductive images give way to a portrait of aspiration built on exclusion, extraction, and spectacle. If the superyacht is the epitome of contemporary aspirational values, the film asks: where are we heading?

The Simulator Shell houses the pilot flight simulator of Challenge Airlines, an international air cargo airline. Its curved form references the nose section of a Boeing 747 while recalling the early use of wood in aviation. Twelve double-curved panels were produced using a digitally adjustable mould, fabricated with minimal waste, manufactured in the Netherlands, and assembled on site. Curved windows and integrated lighting complete a cockpit-like interior. Commissioned by Challenge Airlines.

Cala Escondida is WEINBENAMI's first film, growing directly out of the collision of worlds first explored in A Superyacht Encounter. A queer couple returns to a long-held family house above a once-hidden nudist beach in Ibiza, now sharing its shoreline with superyachts and luxury tourism. As the beach changes, so does the couple. The film blurs what's lived with what's constructed, asking what remains once the freedom that built a place starts to disappear.