The circular theater in the music garden
is positioned after the fountain and the house, preceding the labyrinth. Its form stems from the classical Greek theater and then from the Roman amphitheatre, where spectators become an integral part of the scene and the scenography; in this case, the spectators are the show and the scenography itself.
Seen between the internal windows that dominate the scene, they become observers of themselves and find themselves in others. The circular shape definitively excludes the edges, no angle can stop or slow down the continuous motion of the glances that create and decompose the theatrical act. No major actors in the middle of the stage, no text to recite except the everyday text that tells of our existence. A place of thought where we are the theater.
Circular Theater from "Garden of Music".

Architecture

People on the same planet grasp the inconsistency of matter in abstractly different theoretical formulations. With the abstraction of the geometrized form, the ecstasy of the body is not achieved, but the definitive cancellation of the object. Nomination, gestualization, body language, manifestation, theater and music, as well as architecture itself, remain isolated in the mysterious and still unknown universal system. The editing of abstractions, motivated by external arguments, is affected by the incompleteness of the limit; theaters of the total, of the politician, of the mechanic, translated into educational theaters, stage the city of tomorrow too often theorized in ideal visions that stagger between the neoplatonic and the fantastic.
The Futurist surprise and the Hollywood musical dress the corporeal city with a degree of authenticity that only the point-like sets of flying machines can know, waiting to transpose the theatrical newspaper into the uncontrolled metropolitan abstract. Tomorrow's puppets alternate between the symbolist masks, proposing the estrangement of being, but not reaching the unexpected austerity of bodily transposition into more evolved degrees of the spirit.

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.

Design