After years of abandonment, this is what we found when we first walked in.

The project consists of a studio apartment and a one-bedroom, designed so that they can be combined into a single larger unit in the future. Both units are served by and connected to a shared garden.

The concept is based on contrast:

A clean, linear architectural language creates a neutral background in which elements from the place’s history can emerge. Raw concrete surfaces are paired with vintage furniture, decorative objects, and the bunker’s existing traces, creating a dialogue between memory and contemporary design. The result is a space where minimalist simplicity highlights the richness and character of the past.

Book your stay here : )

Rating 9.2! The property is well integrated into Rome’s cultural tourism ecosystem, providing guests with a comfortable and authentic starting point for discovering the city’s historical and cultural attractions.

Our work also included designing the logo, branding, and graphic identity, creating a consistent visual language that reflects the project’s character.

…Please be aware of neighbors!

Soft as the sound of the evening itself.
A poster exploring texture, atmosphere, and material ambiguity through MODO’s Mesh Paint tools.

An exploration of softness, texture, and color.
Created in MODO using Mesh Paint.

There is something timeless about a well-designed wordmark. No symbols, no decorative effects, no visual noise—just a name, typography, and confidence.

The typography was selected for its clarity, balanced proportions, and straightforward appearance. These qualities align with the characteristics often associated with contemporary technical lighting products: linearity, precision, and visual restraint.

Red was adopted as the primary color to ensure visibility and contrast across applications, while the overall graphic system remains minimal and consistent.

The project explores how a limited set of visual elements can communicate reliability and professionalism without relying on decorative features or complex formal gestures.

The exhibition, Icone Terrene, took place on May 22, 23, and 24 at Ubiquity Studio. Maria Teresa presented her new artist’s book Madri together with the Ex voto series, alongside a selection of her previous prints.

Here is Studio Ubuquity ready to welcome visitors.

To thank our guests, Maria Teresa prepared some postcards to give away, some printed in ink, others on aluminum.

The workshop Il progetto d’interni come atto narrativo took place on Saturday and Sunday, welcoming 16 participants.

This workshop presents a research framework developed by the American University in Dubai and RUDN University, which was presented at the ADADA Conference in Tokyo. Participants will explore how spatial configurations, materials, and design elements construct atmosphere and meaning, comparing human interpretation with AI-assisted analysis to reveal the narrative structures embedded within interior spaces.

We came together from different backgrounds and shared perspectives, and built a meaningful experience together. Thank you all, and see you next year!

Special thanks to Giorgia del Bianco, Open House Roma.

This is a seemingly devotional representation: a truly religious mode of representation is used to depict an entirely secular subject: five mothers holding their children, rendered “holy” by self-denial, endurance, and courage. A sanctity of everyday life, as material, earthly, and human as it ever was.

To make the book, I started by first making the matrices for ink printing. Then I printed them.

These are the results. For the second icon, I created two matrices because I wasn’t satisfied with the first one.

Creating Madri took a long time, both in the design and construction phases. I especially had problems printing aluminum. I had to test different metal thicknesses to find the best one for dry printing.

Dry printing on different thicknesses yielded varying results. Once I found the right plate and printed it, I stabilized the folds with an elastic filler typically used for cosplay costumes.

Here is the final result with the printed sheets and the aluminum plates overlapped and glued together

Lastly I made the cover of the book. It’s a box made of old galvanized sheets bent with a hammer. I had to choose between several options to add the title. In the end, I opted for a stencil and black spray paint.

The plainness and simplicity of the exterior deliberately contrast with the richness of the interior: what appears to be a warehouse container reveals itself to be a precious treasure chest, worthy of holding a precious jewel.

Here are three different colleges created for different competitions in recent years.

Created in 2024 for the 8th International Illustration Competition organized by the Malagutti Foundation, Leggero come un macigno is a collage composed of a single piece of linocut printed twice on two different substrates: light blue cardboard and brown paper.
I used a frame from an old Maciste’s movie, one of the many I have seen, as my starting point.

I created Voilà in 2025 for Tapirulan’s Illustrators Contest. For this print, I created four matrices, one for the clown and one for each ball. I printed the first one on white paper and the others on red cardboard, which I also used for the background.

This collage Natura morta? No viva! is for the second edition of Una montagna di pascoli competition organized by the Forte di Bard Association in 2026. It is a multi-matrix collage: each element is carved individually and then assembled. I used two different papers: craft paper and japanese paper Jia Xuan only for the iris. This last one is a very rare kind of iris, the Iris perrieri, flower that can only be found in the Savoy Alps.

The artist’s book Sette Corvi Neri is also a collage.

When I was little, my brother and I had a very common encyclopedia. One of its volumes contained poems and nursery rhymes.
I still have that book; I read it to my children when they were boys, and now I’ve decided to start a project based on one of its doggerel.

The choice was easy: I loved this nursery rhyme and I still love it: there are seven black crows—I mean black, really black—on the pear tree in the Gualtieros’ garden.

I started by designing the book’s shape. I made a prototype to understand how to fold each part and how to adjust the dimensions. Then I outlined a tree, chose the images of the crows, engraved them and put them in a right position.

At a later time I sketched two different trees, one on each side, and chose the position of the crows and how to draw them.

Then I carved all the parts, added the pears and prepared the prints for the book’s box. It took a long time and a lot of work.

Printing was also difficult because I had never used a multi-color technique before. So it took me a few tries before I got acceptable outcome. None of the prints is perfect, but I think I got a good final result.

I also printed out some sheets to cover the book boxes.

The last thing to do was to cut out each book and glue crows and pears on them.

To add the nursery rhyme to the book, I asked a 3D lab to create some stencils.

Finally the book is finished!

I printed the first two in both black and white and color versions.

Not the explosion of punches, but the pauses between them.

A small photoset about the silent impact between two amateur boxers.