Inverted City imagined a simple yet radical gesture: turning a symbol upside down. An inverted model of the Cité de Carcassonne was to be suspended above an urban rooftop, hung from a chrome scaffolding frame and clad in faceted mirrors. The familiar monument became a fractured, shimmering surface—both spectacular and unstable, both critical and poetic.

Neither faithful reproduction nor nostalgic homage, the work proposed an inversion—an overturned architecture that unsettled perception and reframed collective memory. Motorized mechanisms would have allowed the model to descend, rise, and rotate, recalling both the mechanics of scaffolding and the glimmer of a disco ball. By day, sunlight would scatter across the city; by night, spotlights would activate a second, nocturnal reading.

Conceived as visible from the street, the work was imagined as a contradictory signal in the urban landscape: part homage, part provocation. Its ambiguity was its strength—inviting reflection on history not as a fixed monument, but as a shifting, unstable memory in motion.