Antoni Gaudí. Park Güell. Barcelona, Spain. A brief ritual of color, stone, and equilibrium by Filippo Lo Presti https://youtu.be/uqqIRX3TEJg?is=WyWYUopF9d4x5_IB Park Güell as a living mosaic: Gaudí’s curves, Barcelona’s breath, and my soundtrack The Equilibrist guiding the ascent. A brief

Design of New Words Architecture of Perfection Filippo Lo Presti, 1989 https://www.ionone.com/dnw20.htm

https://youtu.be/GO-hylVy0v0?is=9jTMYEx5_ilhGSse Palau Güell, Barcelona A Visual Ritual by Filippo Lo Presti In the heart of Barcelona, Palau Güell emerges like a sculpted labyrinth of stone, iron, and ascending light. Through Filippo Lo Presti’s photographs, the palace reveals its inner pul

Mystifiers who pay little attention to the relationships between history, art, esotericism, and spiritual tradition could never have attained the high degree of formal and symbolic perfection found in sacred works, structures conceived not only for their function, but for their precise auric connot

Mies van der Rohe Pavilion Barcelona, Spain. Short Film & Original Music by Filippo Lo Presti. 2026 This short film by Filippo Lo Presti, produced in 2026, presents a contemporary reading of Mies van der Rohe’s Barcelona Pavilion. Through an interplay of cinematography and the original music

The “House of Yahweh,” the vestibule, the contiguous structures, the upper chambers, the storerooms, and the inner halls dwelled in David’s mind as a plant of light, already perfectly articulated in its proportions. The dimensions of the Temple, 60 cubits in length and 20 in width, correspond to

Mies van der Rohe Pavilion Barcelona, Spain. Short Film & Original Music by Filippo Lo Presti. 2026 https://youtube.com/playlist?list=PLZnBCvfyTHdo&si=I-kQv2gH_YQYikj2

According to the traditional biblical chronology, 1004 BCE marks the moment when King David conquered Jerusalem, proclaimed it the capital of his kingdom, and brought the Ark of the Covenant into the city. It was Solomon, David’s son, who built the First Temple of Jerusalem. Again following Old Tes

Jerusalem offers another authoritative example of the application of the laws of Proportion as generators of magnetic poles capable of linking the divine sphere to the human. Inhabited already in the Early Bronze Age, before 2500 BCE, the city passes through the dominations of Alexander the Great,

The quality grounded in ratio becomes the code through which the building strives to attain the auric proportion, the divine measure and, subsequently, the divinatory one. In this process, architecture surpasses its primary functions tied to the physical body and becomes an instrument of the spirit

This form — square, circle, four exits — reappears in the bronze plate of the Eastern Han: square earth, circular cavity as celestial lake, four vignettes at the corners like four gates of the world. Distant objects, distant cultures, yet the same cosmic grammar: geometric aggregations that do not

Alberti, within the vibrating chantier of San Francesco in Rimini, warns Matteo de’ Pasti like a priest of measures: a minimal deviation in the proportion of the pillars is enough for the entire relational system — that invisible weave binding stone, number, and destiny — to dissolve. It is a warni

Architecture as the music of the world In Pythagorean‑Platonic thought, music is the expression of Universal Harmony, and from the Renaissance onward architects studied musical theory as an essential part of their training. Architectural anomalies were interpreted as true discordances, deviation

The proportional forms of the Four Books In the Four Books, Palladio lists the proportional forms he systematically employs for the width‑to‑length ratios of rooms. These figures belong to Renaissance sacred geometry — true spatial archetypes: 1:1 — the square, the form of absolute equilibri

The three families of ratios: harmonic, geometric, arithmetic Palladio speaks of a necessary and universal rule of art, from which the ancients never departed. A section of this rule concerns precisely the proportioning of room heights, articulated into three groups:harmonic ratio — the mean is

Within the Pythagorean‑Platonic tradition that conceives measure as an echo of the cosmic structure, Andrea Palladio made the proportioning of room heights a true field of inquiry and ritual application. His architecture, nourished by ancient classical geometry and by the harmonics of Ficino’s Tima

But the art of number and in particular the perfect number that guards the divine proportion, does not belong solely to the West: it also flourishes in ancient China, where the most intricate numerical mysticism in the entire history of thought unfolds. Fu‑Hi conceived number as the generative pri

The inventor of arithmetic, geometry, astronomy and logistics is traditionally recognized as Thoth, the divine scribe who, for the Egyptians, embodied a science of space understood as a language of the cosmos—the incarnate verb of an indefinite spirit, capable of translating thought into form, visi

The use of the golden section in Greek structures, and even in Egyptian ones, reveals the coherence of a rule that manifests itself across the most diverse architectural forms, a rule that seems to arise from nature itself, perhaps from the very nature of the propitiatory gods. Mathematical ratios

In archaic Venice, around a thousand years ago, only three scripts were accepted by the pope and by God; for this reason they were considered sacred: Greek, Latin, and Hebrew. Only after the arrival of Cyril was a fourth sacred language added to the alphabet: Slavic. As the echo of this reached Rom