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I see space
not as passive container but as active soulscape. Every texture, sound, threshold, and shadow is choreographed to create emotional frequency. The result is a kind of scenography for the spirit, what I call Architecture of the Soul.



This philosophy materializes in domestic interiors as much as in conceptual installations. A home is not a curated showroom, it is a ritual in motion. Entryways become liminal portals, steeped in scent and softened light. Living rooms are acoustic stages for dialogue, layered with modular seating and textile narratives. Bedrooms cocoon the sleeper in curved walls and velvet dusk. Even kitchens are alchemical ateliers, where copper and clay become sensory invitations to create.
Drawing on influences from Italian theatrical design to Eastern philosophy, from vertical video storytelling to sonic architecture, my approach dissolves boundaries between disciplines. This design resists traditional categories in favor of hybrid forms—dreamlike yet grounded, ancient yet experimental.

Cubik Web (1992)
In the realm of design, Cubik Web stands out. It is a geometric web of interconnected ideas, an invitation to explore the interplay of form, structure, and creativity.

In Cubik Web, there is a meditative geometry that feels less like static composition and more like a resonant system, alive with interconnected thought. The work reveals a progression of triangular forms cradled within waves of textured linework, inviting the viewer not merely to observe, but to decode. Created in 1992 yet remarkably prescient, Cubik Web anticipates the contemporary thirst for networks. The triangle, an archetype of stability and direction, becomes the nucleus through which waves of tension, duality, and convergence are explored. Each panel expands on the previous, like a visual fugue, layering complexity while preserving clarity.

The oscillation between structure and flux captures the liminal space between logic and intuition. The compositional tension evokes architectural blueprints or sonic vibrations and the mindscape of a designer channeling form through abstraction.
Thirty years on, it still pulses with relevance.

1990 Wearable Architecture - Cartographies of the Soul
At the crossroads of a decade defined by the tension between minimalist austerity and theatrical excess, 1990 Wearable Architecture emerged as a transcendent alternative, a poetic gesture toward a more intuitive formal language, shaped by spiritual geometry and inner resonance.

This collection charts a metaphysical cartography: a map not only of cultural thresholds crossed, but of those still shimmering on the horizon. Each silhouette offers more than sartorial statement; it outlines invisible architectures that frame the body without imprisoning it. These garments inhabit the liminal space between structure and atmosphere.

The flowing sequence of rounded and elongated elements suggests movement without requiring motion. These organic contours, interrupted by a crown-like spiked motif, conjure both vulnerability and defiance. There’s an almost biomorphic energy coursing through the lines, as though the garment were alive, breathing through ink.

What’s striking is the composition’s refusal to obey symmetry. Instead, it resonates with a bold sense of intuition, guided more by feeling than formula—echoing early experiments in deconstructivist architecture. The contrast of heavy and delicate strokes speaks to emotional layering: identity as performance, fashion as ritual.

As an early artifacts, these sketchs read like a prelude to your later multimedia ethos, a prototype of resonance. It is a prologue to transformation. It’s a procession of archetypes reimagined: the urban priestess, the mythic wanderer, the architect of silence. Through minimal color and maximal intention, I created a theater of introspection, where each model walks not just a catwalk, but an invisible threshold between self and spectacle. 1990 is not a reference to a year, but a metaphysical coordinate. It marks a point of inflection, where soul and surface converge, where fashion becomes a vessel for the ineffable.

Architecture

A Timeless Geometry: Revisiting the “Universal Circle” (1992)
In an age where digital design often favors fluid impermanence, the 1992 “Universal Circle” design remains a resolute testament to eternal order. At once mystical and mathematical, this piece bridges the sacred and the cerebral—a meditation rendered in pure geometry.

At the center lies a radiant star, not merely decorative but architectonic: a symbolic core from which smaller stars and precise angular forms orbit in perfect symmetry. The design feels less like a creation and more like a discovery, an archetype unearthed from the collective unconscious. Whether viewed in stark black and white or nested within a celestial backdrop, it radiates clarity and cosmic intimacy.

The interplay between triangle, circle, and line echoes ancient mandalas and astrolabes. Yet despite its historical echoes, the Universal Circle transcends time. It doesn't belong to 1992. Or to any year, really. It belongs to the essence of structure itself, a blueprint for unity.

The circle’s potential
... Our journey began in the 1980s with compositional experiments in pure design, applied to everyday objects. We conceived the Sphere Generation, a visionary line of products centered on the circle’s potential to expand and transform into a multitude of functional forms.
Sphere Generation by Filippo Lo Presti & Franco Mazza Architects.

In an era
when performance is often reduced to spectacle or abstraction, it is time to redefine theater as a multisensory architecture of transformation. Conceived by interdisciplinary creator Filippo Lo Presti, the project is a systemic philosophy where architecture, sound, materials, and ritual converge to construct experiential narratives.

"Theatre as Total Design" is not a systemic recalibration. By architecting spaces where limewood’s grain, a cello’s resonance, and the ritual act of collective breathing fuse into experiential narrative, is offered an antidote to performance’s reductionist traps. Can we architect spaces that grow human connection itself? In answering yes, this project becomes a beacon for theatre’s next evolution—one felt on the skin, inhaled in the dark, and carried home in the bones.

Theater

Celebrating Architectural Fluidity
By eliminating the dividing walls between spaces in the house, the different rooms can be connected into a single, interactive space. Similarly, categories of thought can be demolished, regardless of whether a theory, concept, or idea borders on a preceding or following one, or even if one necessarily excludes another. Interactive place and Demolition of thought categories from Places of living. Clean lines, geometric patterns, and dynamic perspectives highlight modern architectural spaces. The camera glides through virtual interiors, emphasizing spatial harmony and light play.
Interactive place and Demolition of thought categories from Places of living (1990)
An Open floor plan by Filippo Lo Presti and Revelation by Ionone Music.
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The Meaning of Form
As long as the life cycle of existence continues its march towards the infinite spiral that realizes it, all things that have a body and a soul will be able to belong to us as our own entirely, and they will be so only if, alongside the exasperation of a search, we are supported by the immensity of human knowledge given by the history of the very things that created us and that made us thinking beings and creators of the matter of which we are an infinitesimal part. In architecture, this idea is often mirrored in the way structures are designed to harmonize with natural forces and hidden geometries. The interplay between form and function, much like the relationship between body and soul, creates spaces that resonate with our deeper sense of being,
From The Meaning of Form and Revelation Third Movement by lonone Music.
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The boundaries of the object
The boundaries of the object marked by the apparent outline the object itself and the space surrounding it. This is the place where the object ceases to exist as itself and becomes part of the surrounding space, transforming into another object. The transmigration of the object from one state of matter to another establishes the principle of eternity through constant evolution and redefinition.
From Design of new words and Revelation Fourth Movement by Ionone Music.
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Short Videos

Architecture Of The Soul. Image of the internal form
Architecture of the soul, that of the sensations dominating man more than functions, the architecture of the spirit where the harmony of idea and its undisputed symmetry, given by purity of meaning and use, find space; the architecture of the psyche, where the corporeal and spiritual mind negotiate a just and appropriate mediation that materializes in function but rises from the depths of thought, from the idea.

The introduction of the computer
in the architectural field not only expands the graphic boundaries, but also the poetic and perceptive ones. The possibility of translating the architectural project for the machine generates more complex relationships than the simple man-machine bond, widely discussed by experts and critics. In the case of the computer, which acts as a control of the machines themselves, there is a further opportunity to integrate different addresses and cultures into a single calculating element, ready to process data coming from multiple knowledge with the aim of creating a common language.

Design of new words