FROM SOUND TO FORM

MORPHO ONE appears as a sound sculpture that escapes the traditional categories of acoustic design. Its form is bold, biomorphic, almost alien: not a simple loudspeaker, but a contemporary totem. The sinuous curves and shiny black volumes evoke the tension between technology and flesh, between machine and creature. The central body develops with lines reminiscent of muscular anatomy or the skeletal structure of an insect enlarged to the point of monumentality. The two frontal wings seem ready to vibrate, to unfold in an act of sound propagation.

In the centre, the grid reveals ahidden soul: a voice ready to break free. The stand on a polished base, slightly inclined, with the small Rei Delevri logo, gives the whole thing analmost liturgical aura. It is as if we were in front of a sacred object of the post-human era, an artefact capable of channelling sound waves and aesthetic concepts together.

THE VIRTUAL ORGANISM

MORPHO ONE is the first step in a conceptual metamorphosis: it is not just a loudspeaker, but a ritual organism, designed to inhabit space as a living being of the future.

The result of Rei Delevri’s research, Morpho One embodies the encounter between engineering and art, between matter and philosophy. Its shape, sculpted with poetic intention, recalls the wings of a cybernetic insect, a symbol of lightness and precision. The sound waves emitted are not mere signals: they are vibrations on the borderline between music and evocation , between thought and body.

Rei Delevri ‘s philosophy is based on the transfiguration of the technical object into a sensitive entity, capable of arousing emotions and reflections. Morpho One was created to be unique, unrepeatable, traced in its history by blockchain tools that certify authenticity and sound identity. It is a totem, a portal, an acoustic limb of the radical present.

Each Morpho One is awork and each work a cry, which crosses time to resonate with the listener.

INSPIRATION AND REALISATION

The idea of Morpho One was born from a radical reflection on the nature of sound and its function in human life . Not as a decorative element, not as a mere propagation of frequencies, but as a sculpturalforce, an existentialevent. Sound is not an effect: it is anorigin.

This approach led Rei Delevri to search for a different archetype, a language that would transcend the technical functionality of the loudspeaker to give it a symbolic aura. In this process, the object was conceived as a creature of sound, a synthesis of biomechanics and myth, capable of inhabiting our present with the force of a vision.

Historical matrices

The first reference sinks into Italian Futurist sculpture, in particular the work of Umberto Boccioni: forms in motion, bodies that break apart and project themselves into space in a dynamic plastic gesture. Thus the Morpho One gains momentum, modelling surfaces according to vectors of force that suggest not only aesthetics, but energy in power.

Alongside this, the suggestion of Leonardo ‘ s machines and the automatons of the Renaissance: objects conceived as grafts between man and ingenuity, between soul and gear. Hence the intuition that a loudspeaker can become something more: a presence.

But the real breakthrough came from the encounter with living forms: insects, wings, exoskeletons, gills, membranes. Naturalmorphism, studied through parametric-organic models in the CAD environment, guided the form towards a balance between symmetry and distortion, between beauty and function. In particular, the anatomy of the Morpho Menelaus, the butterfly that refracts light thanks to the structure of its wings, gave the project its name and spirit: Morpho, as continuous metamorphosis.

Most recentinspirations

MORPHO ONE also dialogues with the aesthetics of speculative design, which eschews functional consumerism and proposes objects that are provocations, stories, omens. In this direction, the intention was to construct an object that does not end in the present, but questions the future. The shiny black surface, the almost alien appearance and the total absence of aesthetic compromises make Morpho One not only an object to listen to, but to contemplate.

Finally, the influence of post-humanistphilosophy has played a key role. In a world where machines become intelligent and identities dematerialise, the Morpho One is conceived as a hybrid between organic and synthetic, a ‘ machineanimal ‘ that gives sound a shape, a face, a gesture.